AMERICAN MADNESS
Written by Robert Riskin
FADE IN
1. EXT. BUILDING - DAY - LONG SHOT
Of a large, impressive-looking building
on the corner of a busy, New York business
street.
LAP DISSOLVE TO:
2. EXT. BUILDING - DAY - CLOSE SHOT
A dignified brass plate sign on the
side of the building, reading: UNION
NATIONAL BANK.
LAP DISSOLVE TO:
3. INT. FOYER OF BUILDING - MED. SHOT
Lower portion of high bronze doors,
one side of which is partly opened.
Sitting in front of the closed side
is a uniformed officer, greeting, ad
lib, the various employees as they enter.
LAP DISSOLVE TO:
4. INT. OF BANK - CLOSEUP
Of a cover being yanked off an adding
machine.
CUT TO:
5. CLOSE SHOT AT SWITCHBOARD
A telephone operator, busily plugging
in wires.
OPERATOR
(mechanically sweet voice)
Good morning . . . Union National Bank
. . . Just a minute—
LAP DISSOLVE TO:
6. INT. ENTRANCE ROOM TO VAULTS - MED.
SHOT
Of the inside of a massive vault door,
made impressive by the shining, finely
cut steel bolts and the many other intricate-looking
instruments which adorn it.
CAMERA PANS UP to a clock overhead which
registers 9:03.
A group of young men, paying tellers,
are impatiently watching a teller struggle
with the lock that will admit them to
the vault.
TELLER
Come on, come on, Oscar, what are we
waiting for?
2ND TELLER
What's the matter? Can't you find it?
3RD TELLER
Sneak up on it, boy!
4TH TELLER
Oscar, come on!
CHARLIE
Say, if it had lipstick on it, he'd
find it!
They all laugh, as Oscar finds the combination.
? 104 ?
OSCAR
Almonds to you![1] Almonds!
TELLERS
Now, now, Oscar - not almonds!
The CAMERA MOVES WITH THEM as they pass
through the first portal.
CHARLIE
Nine o'clock and all is lousy!
1ST TELLER
Yes, I spend half of my life waiting
for these time clocks to open. Say,
where's Matt?
CHARLIE
Probably upstairs thinking up that daily
joke.
2ND TELLER
That guy kills me with his wisecracks.
3RD TELLER
Say, when he comes in, let's put on
a frozen face. Let's not smile.
They ad-lib agreement.
1ST TELLER
Shhh! Nix! Here he comes—
7. MED. SHOT
CAMERA PICKS UP Matt Brown, the chief
teller, as he strides briskly in and
begins turning the combination dial
to the main vault. He is about twenty-six,
a clean-looking, personable youngster.
Several of the tellers are standing
close to him, looking on.
MATT
How are you doing slaves?
TELLERS
Hello, Matt. How're you Matt?
Matt begins to work the combination
of the main lock.
MATT
(with his back to them)
Say, did you boys ever hear the story
of the pawnbroker with the glass eye?
1ST TELLER
No Matt, what is the story about the
pawnbroker with the glass eye?
MATT
(as he continues to fiddle with the
lock)
Well, I'll tell you. A fellow went into
this shop to pawn his watch. The pawnbroker
said, "I'll give you $50 for it, if
you can tell me which is my glass eye."
The fellow said, "All right, I'll do
that. It's the right one." The pawnbroker
said, "That's correct. But how did you
know it was the right one?" The fellow
? 105 ?
said, "well, it's got more sympathy
than the other one."
He turns, expecting their laugh, but
is confronted by stone faces.
MATT
Sympathy! You know, the right one had
more sympathy than the other one!
1ST TELLER
What's the matter? Can't you get this
thing open?
Matt stares in disbelief, then gets
the joke.
MATT
(contemptuously)
Six reasons why banks fail!
This cracks them all up, as a uniformed
officer, who has been standing by, works
a lever attached to the floor, which
lowers a section of the floor, directly
in front of the vault. This permits
the vault door, which is sunk below
the floor level, to swing open.
TELLERS
(ad-libbing)
I love your jokes, Matt! They're so
entertaining! A very funny man!
8. MED. SHOT
Matt opens the inside door, made up
of perpendicular steel bars. The tellers
scurry into the cavernous-looking interior.
Someone snaps on a light. CAMERA TRUCKS
UP TO VAULT.
The back walls of the vault are lined
with steel cabinets divided into many
small compartments. On one side is a
wall safe which is also opened by a
combination and which contains the surplus
cash carried by the bank. Matt is in
charge of this. All around the room
are numerous hand trucks - one for every
teller. These trucks contain the cash
in the charge of the individual tellers.
While the tellers in the b.g. obtain
their keys and open the drawers of their
trucks, Matt examines the time clock
which is attached to the inside of the
vault door.
9. INT. VAULT - MED. CLOSE SHOT
At the door, as Matt enters and goes
directly to the burglar alarm box to
the left of the doorway. He leans over
to throw off the burglar alarm switch.
CUT TO:
10. CLOSEUP - BURGLAR ALARM SWITCH
The handle of the switch points in the
direction of a sign reading ON. Matt's
hand comes into the scene and throws
the switch up toward a sign reading
OFF. This is done with no comment, it
being a routine matter with Matt.
MATT
Come on, white collars. The day's started!
11. MED. SHOT
As the tellers file out with their trucks.
Before they do, however, each one signs
the cashbook. One or two exit silently.
? 106 ?
12. CLOSE SHOT - MATT
As one of the tellers comes into scene.
Matt examines the cashbook.
MATT
You're carrying too much money on you,
Hank. You better turn some in tonight.
MATT
(as he goes)
Okay, Matt.
He exits out of scene.
MATT
How are you fixed?
TELLER
I'm okay, Matt.
MATT
(to another teller)
You've got enough?
2ND TELLER
I'll be all right.
Charlie, the last man, comes up.
CHARLIE
Say Matt, I'll have to have some money
for those Manville payrolls.
MATT
How much?
CHARLIE
About twenty-four thousand.
MATT
(counting out money)
It was more than that last week.
CHARLIE
Yeah.
MATT
Here's twenty-five thousand.
He hands Charlie four stacks of bills.
As Charlie is signing the cash book,
Matt speaks:
MATT
Say, do me a favor, will you Charlie?
CHARLIE
Yeah.
MATT
Let me have ten bucks?
CHARLIE
(aghast)
Ten bucks? Say, if I had ten bucks,
I'd quit.
MATT
Charlie!
? 107 ?
CHARLIE
Yeah?
Charlie starts out. Matt follows him.
13. OUTSIDE OF VAULT - MED. CLOSE SHOT
As Charlie comes out, followed by Matt.
CAMERA TRUCKS ALONG WITH THEM as they
walk.
MATT
(as they walk)
I'll pay it back to you Saturday - on
the level I will. Give a guy a break,
will you? I've got to get it back in
my account. If Helen ever finds out
that I—
CHARLIE
(unsympathetically)
Baby, I can't give you anything but
love . . .[2]
LAP DISSOLVE TO:
14. INT. MAIN FLOOR OF BANK - BACKSTAGE
CAMERA TRUCKS with them as Charlie pushes
his truck forward and Matt walks alongside
of him. En route, CAMERA TAKES IN ATMOSPHERIC
SHOTS of the general activity backstage
of the bank.
Male and female clerks stand around
at various angles, checking away at
adding machines. Several are assisted
by someone who calls off figures to
them as they record it on machines.
We hear these figures read in a monotone
as we pass them.
Matt is still trying to pry the ten
dollars loose from Charlie.
MATT
Now listen Charlie. I'll give you an
I.O.U. I'll give you a note, I'll pay
your mortgage, it's a matter of life
and death—
Ad-lib conversations from the other
clerks distract his attention.
CHARLIE
Whose death?
MATT
It'll be yours if you don't kick in
with that ten bucks.
CHARLIE
Say pal, did you ever hear of a Depression?
MATT
Aw, nerts!
Charlie arrives at his cage. CAMERA
STOPS with them.
CHARLIE
Come over and see us sometime.
CAMERA CONTINUES TO FOLLOW Matt as he
continues on to his cage, muttering
half to himself.
MATT
I'm not asking you to pay off the Depression.
I'm only asking you for ten bucks!
? 108 ?
Another teller is busy in the cage next
to him. Matt addresses him, referring
to Charlie.
MATT
That mug reminds me of a guy with his
second dollar.
TELLER
Yeah, what did he do with his first
one?
MATT
Bought himself a pocketbook!
The teller laughs heartily.
15. MED. SHOT
THE CAMERA PICKS UP Helen as she crosses
the main floor of the bank, reaches
Matt's teller window and pushes it open.
MATT
Hello, Helen!
HELEN
(conspiratorially)
Matt, come here!
MATT
Why?
HELEN
Come here, honey!
He leans over, and she gives him a quick
kiss.
MATT
Hey, look out, somebody's likely to
see us!
HELEN
(already walking away)
Oh, is that so?
She quickly kisses him again, crosses
back, and takes the grand stairs up
to the outer office of the bank president
as Matt watches with a grin.
16. INT. MAIN FLOOR OF BANK - FULL SHOT
Just then, a group of five or six important-looking
men enter scene on the way to the conference
room. One of the men looks towards Helen's
desk.
17. MED. SHOT
On Helen and a secretary standing next
to her.
SECRETARY
(to Helen)
Oh, oh. Look who's here.
18. MED. SHOT
The other clerks and tellers, noticing
the newcomers as they file past.
TELLER
Hey, psst!
? 109 ?
OSCAR
Oh, oh. Five ill winds.
TELLER
(standing next to Oscar)
And blowing no good for the old man,
either.
19. CLOSER SHOT ON HELEN'S DESK
Shooting toward Helen.
HELEN
(acidly)
The four-and-a-half horsemen.[3]
GIRL
What are they doing here? There's no
board meeting today.
HELEN
Search me.
By this time, the important group of
men have reached Helen, and are passing
her by, with perfunctory nods.
CLARK
(the most important of the important-looking
men; to Helen)
Mr. Dickson in yet?
HELEN
Not yet, Mr. Clark.
CLARK
When he comes in, tell him we're waiting
for him in the board room.
HELEN
Yes, sir.
CLARK
And tell him not to delay.
HELEN
Yes, sir.
The group of men file through the board
room door, and out of sight.
GIRL
(to Helen)
Looks like trouble for your boss.
HELEN
Takes more than two tons of directors
to make trouble for my boss.
GIRL
(as she turns to go)
Sez you!
20. INT. CONFERENCE ROOM - MED. SHOT
Taking in all of room. The directors
are all here, and some sit around a
long, narrow mahogany table. Clark,
the sour-faced old
? 110 ?
bird we saw previously talking to Helen,
paces back and forth agitatedly.
CLARK
I've sent for the cashier, gentlemen.
He has a list of the loans that Dickson
made last month.
21. MED. CLOSE SHOT - CLARK
As he stops in his pacing a moment and
addresses the directors further:
CLARK
And as I told you at breakfast, it is
time we did something about it.
22. CLOSE SHOT - SCHULTZ
In thorough accord with Clark's violent
attitude is Schultz, a German, whose
instinctive conservatism rebels against
Dickson's liberal banking methods.
SCHULTZ
Mr. Clark's right. Dickson will ruin
this bank if we don't stop him.
AMES
(another conservative stalwart)
Looks to me as if we're in hot water
already.
A very dignified but meek little old
man, Jonathan Ives, tries horning in:
IVES
(feeble-voiced)
Gentlemen, I was just wondering—
23. MED. SHOT
As another of the directors, O'Brien,
a large, bull-faced, thunderous-voiced
contractor, rises to Dickson's defense.
(O'Brien is always filing his nails,
even while he talks.)
O'BRIEN
Personally, I think you're getting panic-stricken
about nothing. Dickson's all right.
CLARK
(interrupting)
Oh, is he? We carry more unsecured paper
than any other institution in the city.
We're fools to tolerate it.
SCHULTZ
That's what I say. And the only way
to end it is to get Dickson out.
24. CLOSE SHOT - O'BRIEN
He looks toward Schultz.
O'BRIEN
Don't make me laugh, Schultz!
25. MED. CLOSE SHOT - CLARK
CLARK
Dickson doesn't have to go. But he must
agree to this merger with New York Trust—
? 111 ?
O'BRIEN
What good will that do?
CLARK
What good will that do? Why, it will
take control away from him. We'll put
somebody else in charge, call in all
doubtful loans, and be on safe ground
again. That's what good it will do!
26. MED. CLOSE SHOT
Including Ives in scene with Clark and
O'Brien. Ives is seated, O'Brien and
Clark standing by table. Ives tries
to speak again.
IVES
It has just occurred to me—
O'BRIEN
(interrupting)
You're wasting your time, I tell you.
Dickson won't stand for it.
CLARK
He'll stand for it, if I have anything
to say about it.
Just then they hear door open, and they
all look towards door leading thru to
main floor.
27. MED. CLOSE SHOT - CLUETT
As he shuts the door behind him. He
is immaculately groomed, obviously cuts
quite a dash with the women. He looks
off toward the men as Clark's voice
comes in:
CLARK'S VOICE
Ah - come in, Cluett.
CAMERA PANS WITH CLUETT as he comes
forward and puts a paper on the table
before Clark.
CLUETT
Here's the list.
CLARK
Yes, thank you.
CLUETT
Anything else?
CLARK
No. Nothing.
Cluett exits toward door again. Clark
picks up the list and looks at it. Then
he addresses the other men:
CLARK
Look at this. Just look at this. It's
outrageous. Henry Moore - thirty-six
thousand. Manny Goldberg - eighty-five
hundred. Tony Consero - fifty-six thousand
dollars. Joseph McDonald - eighteen
thousand. Alvin Jones - sixty-six thousand
dollars to a hotel that's on its last
legs. I tell you, people get loans in
this bank that couldn't borrow five
cents anywhere else.
? 112 ?
28. WIDER ANGLE
As the other men group around the loan
list, which Clark has put back down
on the table. They all scrutinize it
carefully.
SCHULTZ
(to the men at large)
And on what? "Hunches," he calls it.
AMES
Some day he'll get a "hunch" about a
man and give the bank away.
CLARK
He's almost done that already. Our chief
teller, Matt Brown, is an example of
that. He breaks into Dickson's house,
holds him up, and the next day gets
a job in the bank.
IVES
Well, as far as I'm concerned—
SCHULTZ
A boy who should be in jail, handling
a bank's cash!
CUT TO:
29. INT. MAIN FLOOR OF BANK - MED. CLOSE
SHOT
Shooting toward Matt, inside the teller's
cage, busily counting the money he is
getting ready for Charlie.
Helen is outside the cage.
30. CLOSE SHOT
Shooting toward Helen.
HELEN
(skeptically)
What did you do with it?
MATT
With what?
HELEN
The ten dollars.
MATT
(quickly)
Oh, ten dollars—
HELEN
Yes.
MATT
(catches himself in time)
A friend of mine - yeah, really - his
mother was terribly sick and she was
dying, would you believe it?
31. CLOSE SHOT
Shooting toward Matt.
As she interrupts him:
? 113 ?
HELEN
No.
MATT
Oh, you think I'm lying?
HELEN
Yes.
MATT
All right, I'm lying. Don't forget you
called me a liar.
HELEN
Oh, Matt.
He reaches forward and takes her hands.
MATT
Oh honey, why don't we get married?
Then you can handle it all.
Just then Oscar enters the scene, en
route somewhere. He stops beside Matt,
notices he and Helen are holding hands.
32. MED. CLOSE SHOT
As Helen and Matt separate guiltily.
OSCAR
Say, Matt! Matt! Did you hear the news?
MATT
No, what?
OSCAR
Pardon me. All the big shots are in
a huddle, and it looks like Dickson's
out on his ear.
Helen and Matt react to this piece of
news. They look at one another. Apparently,
it will have a definite effect on their
lives.
MATT
(to Oscar)
Oh, you're kidding me, aren't you?
OSCAR
No, I'm not kidding. Everybody's talking
about it. Ask her.
HELEN
I haven't heard about it.
OSCAR
Sure, everybody's talking about it.
33. CLOSE UP - MATT
As he speaks sadly.
MATT
If that's on the level, there goes my
assistant cashier's job.
34. MED. CLOSE SHOT
Taking the three in.
? 114 ?
OSCAR
Well, I just thought I'd drop by and
cheer you up a bit.
As he turns to go out of scene, he looks
at Matt.
OSCAR
I'll be seeing you, Matt - in the breadline.
CUT TO:
35. INT. CONFERENCE ROOM MED. - SHOT
The men are all gathered around the
table now. Apparently, they have been
discussing ways and means of ousting
Dickson.
As we cut to this scene, Ives is pouring
himself a glass of water.
IVES
That ham I had this morning was very
salty—
36. CLOSER SHOT ON THE GROUP
CLARK
Gentlemen, let's get organized before
Dickson gets here. Schultz, can I count
on you?
37. CLOSE SHOT
On Schultz, who is seated next to Clark.
SCHULTZ
Absolutely.
CLARK
What about you, Ames?
38. CLOSE SHOT
On Ames, who is seated next to Schultz.
AMES
That's the way I feel about it.
CLARK
Ives, how about you?
39. CLOSE SHOT
IVES
Well, the way I look at it, it seems
that—
CLARK
(interrupting)
All right. O'Brien?
40. CLOSE SHOT
At other end of table, where O'Brien
is.
O'BRIEN
Well, you've got an awful fight on your
hands. That's all I've got to say.
41. CLOSE SHOT
On Clark, determined.
? 115 ?
CLARK
Gentlemen, I think it's time that we
do fight.
CUT TO:
42. INT. MAIN FLOOR OF BANK - FULL SHOT
The outer offices of the bank are in
this shot. A spacious stretch of desks
occupied by clerks and junior officers,
all busily at work.
A wizened old doorman is greeting clerks
as they arrive.
CLERK
(passing by)
Hello, Gardiner.
GARDINER
Good morning. You're on time this morning.
It's about time.
We see Dickson, looming in the doorway,
for the first time.
43. CLOSE SHOT
As Dickson stops to speak to the doorman.
Dickson is a man of about fifty, whose
looks belie his years. There is a robustness
and virility about him that is compelling.
His very walk radiates power.
He now puts his hand on the old man's
shoulder.
GARDINER
Good morning, Mr. Dickson.
DICKSON
John, how's your wife this morning?
GARDINER
(looking up, worship in his eyes)
Much better this morning, thank you.
DICKSON
Got a handkerchief?
Gardiner hurriedly produces a handkerchief,
and starts to blow his nose.
GARDINER
Excuse me—
DICKSON
Wait a minute.
(he takes the handkerchief, and polishes
the brass on Gardiner's uniform)
How do you feel this morning?
GARDINER
I'm feeling fine this morning.
DICKSON
That makes it unanimous. I feel all
right too.
GARDINER
Thank you!
As Dickson exits from scene:
? 116 ?
CUT TO:
44. TRUCKING SHOT WITH DICKSON
The smile on his face disappears as
he sees something which annoys him.
DICKSON
(sternly)
Oh, Carter!
A young man looks up quickly. He is
smoking a cigarette.
CARTER
Yes sir?
DICKSON
You know the rules about smoking . .
.
Carter quickly crushes out the cigarette.
Even as he does so, Dickson reaches
into his pocket and flips Carter a fresh
one, which Carter pockets for later.
CARTER
Thank you, sir.
Now Dickson passes Matt's cage.
DICKSON
(catching Matt's attention)
Oh, Matt!
Matt looks up. Dickson tosses him a
wink, and Matt winks back.
Dickson walks on towards his office.
CAMERA TRUCKS AHEAD OF HIM. On the way
he is greeted by his employees.
AD-LIB FROM EMPLOYEES
Good morning, Mr. Dickson. Etc., etc.
DICKSON
(pleasantly)
Morning. Good morning—
He is joined by Bill Saunders, a friend
of his. Bill walks along with Dickson.
BILL
Hello, Tom.
DICKSON
(firmly, but pleasantly)
You here again? What do you want?
He does not stop. Continues his walk
toward his office. Bill along-side of
him.
BILL
(smiling)
What do you suppose anybody wants? Money,
money, money!
DICKSON
Listen, I told you I wasn't interested
in that deal, didn't I?
? 117 ?
BILL
I want to know why .
Dickson notices a man, a janitor without
a uniform, passing by.
DICKSON
(to the man)
Wait a minute. Where's your uniform?
JANITOR
I haven't any.
DICKSON
You haven't got a uniform?
JANITOR
No, sir.
DICKSON
My goodness, you ought to have a uniform.
How much does one cost?
JANITOR
Why, I don't know.
DICKSON
You see Sampson. Tell him I sent you.
You've got to have a uniform.
The man exits scene. Bill picks up the
conversation where he left off.
BILL
Tom, I never had trouble getting credit
from you before. When I was flat broke
you gave me all the money I wanted.
Now I come to you with a swell deal,
and the greatest—
DICKSON
(interrupting)
I'll tell you why. I don't like the
crowd you're mixed up with.
(softening)
Personally, you can have all the credit
you want. But for that deal - not a
cent.
BILL
But listen, Tom, I—
They have now reached the anteroom of
Dickson's private chamber, where Helen
sits at her desk.
45. INT. DICKSON'S OUTER OFFICE - MED.
CLOSE SHOT
As Dickson comes up to Helen at her
desk. A lady sits nearby. Dickson notices
her.
DICKSON
Good morning, Mrs. Pembroke.
MRS. PEMBROKE
Good morning, Mr. Dickson.
DICKSON
Got my letter?
? 118 ?
MRS. PEMBROKE
Yes, thank you.
DICKSON
Hello, Helen.
HELEN
Good morning.
DICKSON
Helen, you're becoming more beautiful
every day. What are we going to do about
it?
HELEN
I don't know.
DICKSON
Guess we'll just have to sacrifice the
bank. When are you and Matt going to
get married?
HELEN
(awkwardly)
Why - well, I—
DICKSON
Ummm. Stalling, eh?
(changing tone, professionally)
Anything new?
HELEN
Why, the directors are waiting for you
in the board room.
DICKSON
Directors, eh? Long faces?
He gestures accordingly.
HELEN
(she trumps his gesture)
Longer.
DICKSON
(half-under his breath)
I haven't got any new stories for them
this morning, either.
Mrs. Pembroke has been standing by,
waiting to get a word in edgewise. CAMERA
PANS SLIGHTLY with him to take in the
lady:
MRS. PEMBROKE
Mr. Dickson?
DICKSON
Ah, Mrs. Pembroke. I spoke to Mr. Schaffer
at the Guaranty. He's going to take
care of that mortgage for you . . .
During this speech the phone bell rings.
46. MEDIUM SHOT
As Helen picks up the phone and quietly
answers it. Bill Saunders is standing
nearby, still waiting to talk to Dickson
again.
? 119 ?
HELEN
(into phone)
Hello . . .
(she turns to Dickson)
Mrs. Dickson on the phone.
Dickson comes over to the desk and as
he picks up the receiver, he looks toward
Mrs. Pembroke.
DICKSON
(to Mrs. Pembroke)
You'd better hurry over there. He's
waiting for you.
(then into phone)
Hello, dear . . .
47. CLOSE SHOT - DICKSON
As he continues, into phone:
DICKSON
Where are you? . . . Sure, well, come
on down right away. Huh? . . . Yes,
of course I remember. It's tonight.
(smiles)
See what a social hound I'm becoming!
. . . All right, goodbye, dear.
He hangs up. Mrs. Pembroke is waiting
for him to finish. She has apparently
been disappointed in the news he has
for her.
MRS. PEMBROKE
But, Mr. Dickson, I thought you were
going to take care of the mortgage.
I only want ten thousand. The property
is worth sixty.
DICKSON
(ill-at-ease)
Mr. Schaffer will take good care of
you. He'll give you fifteen - maybe
twenty . . .
48. MED. CLOSE SHOT
He continues talking to the lady, trying
to get rid of her.
DICKSON
Better hurry now. Goodbye. Good luck
to you!
Mrs. Pembroke, bewildered, starts to
leave.
MRS. PEMBROKE
(muttering)
Thank you.
CAMERA PANS WITH HIM as Mrs. Pembroke
leaves.
DICKSON
(to Helen)
Oh, if Mrs. Dickson comes in, will you
tell her to see Cluett if she needs
any money?
Bill Saunders is still waiting. He corners
Dickson.
BILL
What's the idea of turning her down?
It sounds like a perfectly safe investment.
? 120 ?
DICKSON
She's a widow. I don't like taking mortgages
from widows.
BILL
(puzzled)
Why not?
49. CLOSE SHOT OF THE TWO
Shooting toward Dickson.
DICKSON
If she can't pay, I'll have to foreclose,
won't I?
BILL
(dumbly)
Yes - sure—
DICKSON
(mimicking him)
Yeah - sure!
He turns to address a man below - the
janitor without a uniform.
DICKSON
Oh, make that uniform blue.
JANITOR
Yes, sir.
Abruptly, he heads for the board room.
Bill is still baffled by Dickson's queer
reasoning. Suddenly, it dawns on him.
He shakes his head admiringly.
CUT TO:
50. INT. CONFERENCE ROOM - MED. SHOT
Dickson enters.
DICKSON
(blithely; as he counts the board members
present)
One - two - three - four - five. Seven
more and you'd have a jury!
He grabs a walking cane and wields it
like a golf putter.
DICKSON
Well, it's a nice morning, gentlemen.
How about two foursomes of golf?
IVES
(eagerly)
Oh, I say, that would be . . .
Ives's voice trails off as he realizes
Clark is scowling at him.
DICKSON
(undeterred; still practicing his golf
swing)
Say, you know, I found out something
yesterday about hitting a golf ball.
You've got to hit with the left hand,
and from the inside out, it's the only
way you can hit anything—
? 121 ?
CLARK
(huffy)
I think, Mr. Dickson, we would like
to have a little of your very valuable
time here at the bank this morning,
if you don't mind.
DICKSON
Oh, you would, eh? All right. If it's
more important than golf, go ahead.
What's on your mind?
CUT TO:
51. INT. LOBBY OF BANK - LONG SHOT
Shooting from one end of the lobby toward
the front door. Depositors are scattered
all over the place. Some at the windows.
Some at the writing tables. Others sitting
inside the railing, talking to junior
executives. The scene is peaceful, though
very active.
CAMERA STARTS TRUCKING FORWARD, passing
en route, the different types of individuals
who frequent the bank. People from all
walks of life. CAMERA TRAVELS SLOWLY,
picking up following little scenes.
TELLER
(at window)
The check is no good.
SADIE (A FEMALE CUSTOMER)
What?
CLERK
The check is no good. The man has no
account here.
SADIE
Holy mackerel! I've been robbed.
CLERK
I'm sorry, madam.
SADIE
So am I. And don't call me madam!
CAMERA NEXT PICKS UP an elderly lady
talking to a bank guard.
GUARD
Yes, ma'am, you can deposit your money
here.
LADY
Is it safe?
GUARD
Absolutely.
LADY
It's his life insurance money, you know.
BANK GUARD
That's all right. You come with me,
and I'll show you where to deposit your
money.
CAMERA GOES PAST and now singles out
three men who are coming forward. One
glance and we know they are here for
no kosher reason.
? 122 ?
They are typical gangster types. One
of them, the leader, is dressed in everything
but the kitchen sink. Light fedora,
stiff shirt and collar with stripes
running perpendicularly. Flashy gray
suit - spats - and walking stick. The
other two are just tough hombres, but
dressed to kill.
As they walk toward camera, they glance
around the bank with a professional
casualness, but obviously very much
impressed. Their eyes rove around the
place and finally land on some object
where they stop.
CUT TO:
52. CLOSEUP - CHARLIE
As he quickly counts out several thousand
dollars in bills.
CUT TO:
53. CLOSE SHOT - THREE RACKETEERS
Their eyes glisten. Their mouths water,
as they watch Charlie off scene.
CUT TO:
54. MEDIUM SHOT
Inside the railing. Cluett emerges from
his office and starts forward, business-like,
when he suddenly stops in his tracks.
55. CLOSEUP - CLUETT
He stares off at the racketeers. A look
of fright comes into his eyes. His impulse
is to turn back.
56. CLOSE GROUP SHOT
The three gangsters. A quick flash.
Their eyes light on Cluett off scene,
and they glare menacingly at him.
LEADER
There he is! Good morning!
57. MED. CLOSE SHOT - CLUETT
He changes his mind about avoiding them.
His face breaks into a feeble smile
of affability as he walks toward them.
CAMERA PANS WITH HIM as he approaches
the three men, his hand outstretched
in forced amiability.
CLUETT
(shaking)
Good morning! Who do you want to see?
The gangsters shake hands with him,
their expressions remaining unchanged,
which adds immeasurably to Cluett's
discomfort.
LEADER
(flatly)
You.
1ST GANGSTER
(drawling)
Yeah. We wanna talk to you about a big
deal.
There is a sinister significance in
the manner in which he emphasizes "a
big deal." Cluett is perceptibly ill-at-ease.
? 123 ?
CLUETT
(uncertainly - sickly smile)
Oh, yes. Well, come right this way.
He opens the swinging gate in front
of him, permitting the three racketeers
to enter. They start for Cluett's office.
58. INT. ANTE ROOM DICKSON'S OFFICE
- MED. CLOSE SHOT
Helen sits at her typewriter near a
railing, overlooking the bank below.
Another girl stands by her, both are
staring off scene.
CUT TO:
59. INT. BANK LOBBY - MED. LONG SHOT
From Helen's angle.
Cluett and the three gangsters going
into Cluett's office.
60. INT. ANTE ROOM OF DICKSON'S OFFICE
- MED. CLOSE SHOT
Helen and other secretary.
HELEN
Hey Pat, come here! Look!
SECRETARY
(to Helen)
That's Dude Finlay, all right - I've
seen his picture in the papers hundreds
of times.
HELEN
I wonder what he's doing with Mr. Cluett.
SECRETARY
(still staring - thrilled - shuddering)
Gee, I'm scared. He's one of the toughest
gangsters in town.
CUT TO:
61. INT. CONFERENCE ROOM - MED. LONG
SHOT
Shooting down the length of the table.
The men are all sitting around the large
table. Dickson is on his feet.
DICKSON
(firmly)
Gentlemen, you're only wasting your
time. There'll be no merger.
62. MED. CLOSE SHOT
As Dickson continues.
DICKSON
(the injustice kills him)
Why should I turn this bank over to
anybody else? I've worked twenty-five
years night and day to build it up,
and now you're asking me to dump it
into somebody's lap—
(with finality)
Nothing doing!
Schultz, who is seated near Dickson,
looks up at him:
SCHULTZ
You can make a handsome profit on your
stock.
? 124 ?
DICKSON
I'm not interested in profits. I'm interested
in the bank. In the depositors. They're
my friends. They're looking to me for
protection, and I'm not walking out
on them.
Clark and O'Brien, also seated around
close to Dickson.
CLARK
How are you protecting your depositors?
By making a lot of idiotic loans!
O'BRIEN
(admonishing him)
Take it easy, Clark.
Ives, seated next to Schultz, becomes
alarmed.
IVES
(still trying)
My dear friends . . .
DICKSON
(unruffled, paying no attention to Ives)
It's all right. Let him go ahead. Let
him speak his piece. I like it. Go on.
CLARK
All right. I'll speak my piece. Dickson,
you've got to change your policy.
63. CLOSER SHOT
As Dickson retorts:
DICKSON
What's the matter with my policy? How
many losses has this bank taken in the
last twenty-five years?
(he looks around - silence)
I'll tell you. Not a single one!
(defiantly)
What's wrong with that kind of banking?
CLARK
(mumbles disdainfully)
Just pure luck!
64. CLOSE SHOT
Ames, seated beyond Ives, now speaks
up:
AMES
Conditions have changed. These are precarious
times. Banks today have got to be careful.
And you've been more liberal than ever.
Dickson's voice comes in over scene:
DICKSON'S VOICE
Yes, and I'm going to continue to be
liberal . . .
65. CLOSEUP - DICKSON
As he continues:
? 125 ?
DICKSON
The trouble with this country today
is there's too much hoarded cash. Idle
money is no good to industry. Where
is all the money today? In the banks,
vaults, socks, old tin cans, buried
in the ground! I tell you, we've got
to get the money in circulation before
you'll get this country back to prosperity.
66. CLOSE SHOT - CLARK
CLARK
Who are we going to give it to? Men
like Jones? Last week you made him an
extra loan of fifty thousand dollars.
Do you call that intelligent banking?
67. CLOSE SHOT - SCHULTZ AND DICKSON
SCHULTZ
He can't pay his bills. How do you expect
him to pay us?
DICKSON
That's a fair question, Schultz. Now
let's see how bad a risk Jones is. What's
his history? He's been a successful
business man for thirty-five years.
Two years ago business started falling
off. Today Jones needs money, and if
he doesn't get it, he goes into bankruptcy
and throws nine hundred men out of work.
Answer - unemployment.
68. CLOSEUP - O'BRIEN
As he listens intently, Dickson's voice
coming in:
DICKSON'S VOICE
It also means his creditors aren't paid.
They're in trouble. They go to banks
and are turned down . . . more bankruptcies
. . .
69. CLOSEUP - DICKSON
As he continues:
DICKSON
It's a vicious circle, my friends, and
the only place to cure it is right here
at the source. Help Jones and you help
the whole circle. Now, when Jones comes
to me, I ask myself two questions. First
- is he honest? Yes. Second - is he
as good a business man as he was before?
And the answer is - he's better .
70. CLOSEUP - CLARK
Showing his reaction, as part of Dickson's
speech comes over scene:
DICKSON'S VOICE
He is not only older and wiser, but
his present trouble has taught him precaution.
In my estimation, gentlemen, Jones is
no risk. Neither are the thousands of
other Joneses throughout the country
. . .
? 126 ?
71. CLOSEUP - SCHULTZ
To intercut with Dickson's speech.
72. CLOSEUP - AMES
To intercut with Dickson's speech.
73. CLOSEUP - IVES
To intercut with Dickson's speech.
74. MED. CLOSE SHOT
The group, as Dickson concludes his
speech.
DICKSON
It's they who built this nation up to
the richest in the world, and it's up
to the banks to give them a break. Disraeli
said security is the prosperity of the
nation—[4]
AMES
(cutting him off)
Why, Disraeli didn't say anything of
the kind.
DICKSON
Well, he should have said it. It's as
true now as it was then. And let us
get the right kind of security. Not
stocks and bonds that zig-zag up and
down, not collateral on paper, but character!
CLARK
(indignantly)
Character, hmmpf! That's your idea?
DICKSON
Not at all. That's Alexander Hamilton's
idea[5] - the finest banking mind this
country has ever known. Those are his
exact words, gentlemen. Character! It's
the only thing you can bank on, and
it's the only thing that will pull this
country out of the doldrums.
CUT TO:
75. INT. CLUETT'S PRIVATE OFFICE - MED.
CLOSE SHOT
Cluett sits at his desk, his face drawn,
panic-stricken. He is like an animal
at bay. The leader of the trio, Dude
Finlay, sits in a chair directly in
front of Cluett. The other two men stand
on either side of the desk.
DUDE
(menacingly)
You know what we do to welchers, Cluett,
don't you?
CLUETT
(trembling)
I know, I know, Dude. Oh, I must have
been crazy! I lost my head completely!
DUDE
That's your funeral. We've got fifty
thousand dollars comin' to us.
? 127 ?
CLUETT
(helplessly)
I haven't got it.
76. CLOSE SHOT - DUDE
Shooting past Cluett.
DUDE
(barking)
Then what did you want to gamble for?
If you'd have beat us out of fifty G's,
you'd have been paid, wouldn't you?
Well, we want our dough.
CLUETT
I'm sorry, Dude, but—I—
DUDE
That don't do us any good.
CLUETT
But after all, you can't take blood
from a stone.
DUDE
(threateningly - quietly)
We can take blood from anything —
(pauses)
If it's comin' to us.
77. MED. CLOSE SHOT
Shooting toward Cluett. Dude on opposite
side of desk, the other two men still
standing by the desk.
A look of alarm spreads over Cluett's
face. There is nothing hidden in this
threat.
CLUETT
(wants time to think)
Perhaps if you'll wait a little while,
I might be able—
ONE OF THE MEN
(snappily)
We waited long enough!
DUDE
(shrewdly - to the men)
Nix. Lay off.
(to Cluett)
Now - what's the use of getting excited,
Cluett? It oughta be easy for you to
lay your mitts on that kind of dough
. . .
78. CLOSE SHOT - CLUETT
Shooting past Dude, as Dude continues,
slowly, deliberately:
DUDE
There's plenty of it in this bank -
laying around loose.
Cluett looks up - horror-stricken.
? 128 ?
CLUETT
(pop-eyed, choked voice)
Good heavens, man! You're not suggesting
that I—
DUDE
Why not?
CLUETT
(perspiring freely)
Why, I couldn't do that . . . !
DUDE
(flatly)
You don't have to do nothing.
Cluett looks up toward the men - then
at Dude.
CLUETT
(slowly)
What do you mean?
DUDE
All you gotta do is fix a few things
for us , and we'll do the rest, see?
There is a pause while Cluett stares
at them, horrified, his confused mind
trying to assimilate the ghastliness
of their proposal. Suddenly he starts
to rise.
79. MEDIUM SHOT
As Cluett gets to his feet and faces
Dude across the desk.
CLUETT
No, no, I couldn't - I couldn't do anything
like that. I—
Smack! The rest of his speech dies in
his throat. The man to his right has
slapped him across the face with his
open palm. Taken unaware, Cluett's hand
goes to his cheek. He stares at them,
bewildered and frightened.
Cluett, feeling himself trapped and
helpless, slowly sinks into his chair.
CUT TO:
80. INT. ANTEROOM DICKSON'S OFFICE -
MED. SHOT
Helen sits at her typewriter. A very
dignified, beautiful woman of thirty
approaches her. She is Phyllis Dickson,
Dickson's wife. She radiates refinement
and culture.
MRS. DICKSON
(pleasantly)
Good morning, Helen.
81. CLOSER SHOT
At Helen's desk, as Helen looks up at
Mrs. Dickson.
HELEN
How-do-you-do, Mrs. Dickson.
MRS. DICKSON
Is that busy husband of mine busy?
? 129 ?
HELEN
(indicating conference room)
He's at a board meeting.
MRS. DICKSON
(not unexpected)
Board meeting. Oh, that means hours,
I suppose.
HELEN
I'm afraid so.
MRS. DICKSON
Helen, did you ever try competing with
a bank?
HELEN
No.
MRS. DICKSON
Well, take my word for it, and don't
try it. It's useless! If it were some
other woman, I could handle her, but
after all, you can't scratch a bank's
eyes out now, can you?
HELEN
Hardly.
82. CLOSE SHOT - MRS. DICKSON
Shooting past Helen.
MRS. DICKSON
Oh, well. I guess the only other thing
for me to do is to go out and buy myself
a few sticks of dynamite. When he comes
out, you tell him I'll be back. He hasn't
gotten rid of me!
HELEN
All right.
83. MEDIUM SHOT
Helen laughs as Mrs. Dickson leaves
in the direction of Cluett's office.
CUT TO:
84. INT. CYRIL CLUETT'S OFFICE - MED.
CLOSE SHOT AT DOOR
The three racketeers are preparing to
leave. Dude has his hand on the doorknob.
CLUETT
(nervously)
Dude - there's not any chance of my
becoming involved in this, is there?
DUDE
You? No, you'll be all right, so long
as you establish an alibi for tonight.
CLUETT
I know, but—
DUDE
Be sure you're with somebody responsible
in case any questions are asked. Understand?
? 130 ?
CLUETT
But Dude, listen - couldn't we make
this some other time?
DUDE
(positively)
Listen, buddy, you're getting by pretty
easy. Quit squawking!
Cluett looks at Dude, then at the others,
and realizes he is helpless.
He opens the door and the men file out,
silently. Cluett shuts the door and
CAMERA PANS WITH HIM as he crosses back
to his desk, shaking perceptibly. He
reaches into a desk drawer and extracts
a bottle of liquor.
As he takes a drink, Mrs. Dickson enters
unannounced.
CUT TO:
85. MED. CLOSE SHOT
As Mrs. Dickson stands watching Cluett.
MRS. DICKSON
(playful reproach)
Oh, oh!
Cluett turns quickly. Upon seeing her,
he makes an attempt to conceal the terror
he feels.
CLUETT
(smiling feebly)
Oh, hello, Phyllis.
She advances toward him as he rises.
MRS. DICKSON
(shaking her head)
This won't do. Not during business hours
. . .
CLUETT
Why, I needed a—
(offering her drink)
Want one?
MRS. DICKSON
(screwing up her face)
Heavens, no! Do you mind putting up
with me until the financial genius gets
thru genius-ing?
CLUETT
No, no, of course not. Not at all. Oh,
here.
As she takes out a cigarette, he offers
her a light. Mrs. Dickson notices that
he is rather nervous.
MRS. DICKSON
What is the matter with you? You're
trembling?
86. CLOSE SHOT - CLUETT
CLUETT
(trying to be light)
Am I? Why, I - I don't know any reason
why I should be, unless of course it's
you . . .
? 131 ?
87. CLOSE TWO SHOT
MRS. DICKSON
Me?
CLUETT
Being alone with you has always done
this to me. You know that.
MRS. DICKSON
For a celebrated bounder, that is an
awful admission. Besides, I never knew
that any female could do this to you
.
CLUETT
Well, you can. You always could.
MRS. DICKSON
(smiling)
Liar! You're just suffering from lack
of sleep.
He takes this as premature defeat, and
heads back toward his desk.
MRS. DICKSON
(good-natured admonishment)
Here, here, here, now! Don't you go
back to work on me, too. I'm getting
tired of this. Besides, it's beginning
to affect your looks—
CLUETT
(not understanding)
What is?
MRS. DICKSON
(finishing her little joke)
—running around. Not your work.
(Cluett laughs in relief)
You'd better start reforming, Cyril!
CLUETT
If I thought you were the slightest
bit interested, I would.
MRS. DICKSON
Not bad, not bad at all. Do you know
something? I've always been curious
about your line.
CLUETT
Line?
MRS. DICKSON
Whatever it is that makes you such a
riot with women.
He shrugs off the compliment.
MRS. DICKSON
(continuing)
Come on Cyril, try a little bit of it
out on me. I haven't had any first-class
blarney thrown at me since the day I
was married.
? 132 ?
CLUETT
(trying hard)
But you see, it isn't blarney where
you're concerned.
MRS. DICKSON
(laughs)
Now let me see, what comes next?
(a mocking tone)
Oh yes, I know - what are you doing
tonight, Phyllis?
88. CLOSEUP - CLUETT
He is suddenly reminded of his pact
with Dude Finlay. Terror returns to
his face.
CLUETT
Tonight?
He suddenly gets an idea. He was told
to be with someone around midnight.
Someone who would be an alibi for him.
He stares off at Phyllis Dickson. Why
not?
MRS. DICKSON
(continuing)
Doesn't that come next?
89. MED. CLOSE SHOT
CLUETT
Yes, yes, it does. What are you doing
tonight, Phyllis?
MRS. DICKSON
See, we're getting along famously!
CUT TO:
90. INT. CONFERENCE ROOM - MEDIUM SHOT
Clark is in a state of agitation. The
other directors seem worn by the ordeal.
Dickson remains adamant.
DICKSON
Most of the creditors I know personally.
I've seen them grow up in the community.
I knew their fathers and mothers before
them.
CLARK
I know, Dickson. That's all very well.
But you're taking too many chances.
In these times a bank should keep liquid
in case of trouble. In case of emergency!
91. CLOSER SHOT AT THE TABLE
All the men in the scene.
DICKSON
I know what you mean by that. You want
me to hang on to our cash. Well, I don't
believe in it. The law demands that
I carry a certain legal reserve, and
I'm doing it. The rest of our money
is out working . . . working to help
industry . . . to help build up business
. . .
? 133 ?
92. CLOSEUP - CLARK
As he almost shouts at Dickson.
CLARK
In the meantime, you're jeopardizing
the safety of the bank. Well, we won't
stand for it!
93. MED. CLOSE SHOT
Of the group, as Dickson turns to Clark.
DICKSON
You have to stand for it.
Meek little Ives once again tries to
say something:
IVES
(exhausted)
But my dear friends . . .
SCHULTZ
(interrupting)
You're forcing us to take action against
you, Dickson.
Dickson looks at him:
DICKSON
Go ahead - take all the action you want!
He looks about at the others as he continues:
DICKSON
I'm running this bank my way. Get that
clear!
CLARK
Gentlemen, you notice Mr. Dickson refuses
to consider our wishes. He refuses an
offer to merge with the New York Trust
- the only thing that will put this
bank on safe ground. He insists upon
running a bank on so flimsy a thing
as . . . as faith!
DICKSON
Yes! You said it, Clark. That's the
only thing that means anything to me.
94. CLOSEUP - CLARK
As Dickson's voice continues. Clark
reacts appropriately.
DICKSON'S VOICE
Before I take a man into this bank,
and before I extend credit to anyone,
I satisfy myself on one thing - do I
believe in him?
95. CLOSE PAN SHOT
On the other men - CAMERA PANNING from
one to the other as Dickson's voice
comes over the shot - finally CAMERA
STOPS on Dickson.
DICKSON
So far, my judgement has been right
one hundred per cent. One hundred per
cent! When I start going wrong, you
won't have to take any action. I'll
turn the bank over to you. Then you
can
? 134 ?
merge all you want to. I won't be the
fellow to run it then. Good day, gentlemen!
He exits scene.
CAMERA TRUCKS AHEAD OF HIM as Dickson
passes briskly through his outer office,
stopping only to speak to Helen at her
desk:
DICKSON
(cheerfully)
Helen, tell Matt I want to see him.
HELEN
Yes, sir.
CUT TO:
96. INT. CLUETT'S PRIVATE OFFICE - CLOSE
SHOT - CLUETT AND PHYLLIS
CLUETT
(mid-stream)
—and after dinner, we could go—
MRS. DICKSON
(not at all angry)
Oh! Oh, no! I think I've done enough
experimenting for one day. Congratulations,
Cyril. You've convinced me that you're
a philanderer of the very first order.
I shall recommend you highly.
CLUETT
(simply)
Please, please don't laugh at me, Phyllis.
I must see you tonight!
97. CLOSER SHOT OF THE TWO
Favoring Mrs. Dickson.
MRS. DICKSON
Tonight, Oh, never! Tonight I have reserved
for a very special occasion. Believe
it or not, it's our wedding anniversary.
Tom doesn't probably even remember it.
But then, they never do, do they?
CLUETT'S VOICE
No, they don't—
She shakes her head.
MRS. DICKSON
But I'm giving a party for him - a real,
old-fashioned surprise party. Caps,
bells, whistles, and everything. I'm
really terribly excited about it. I've
been planning it for months.
CLUETT
(after a pause)
Well—
MRS. DICKSON
(smiling)
Well, what?
? 135 ?
CLUETT
(he won't give up)
Well, aren't you going to invite me?
MRS. DICKSON
(surprised)
You? No can do. It's all set. Just a
few of Tom's closest friends.
CLUETT
Now Phyllis, if you don't invite me,
I'm coming anyway.
MRS. DICKSON
Don't be silly, Cyril. These are respectable
people. They'd probably bore you to
death.
CLUETT
(desperate-sounding)
No, they won't. Not when you are there.
Oh, please, be a sport. Please ask me.
MRS. DICKSON
(flattered, but a little suspicious)
Why are you so anxious?
CLUETT
(intense sincerity)
Don't you know?
MRS. DICKSON
No.
CLUETT
I want to be near you!
He steps closer to her.
MRS. DICKSON
What?
CLUETT
Don't you know I've been crazy about
you for years?
MRS. DICKSON
(still flattered, lightly)
Now wait a minute, wait a minute . .
.
CLUETT
I've loved you ever since I can remember,
long before you married Tom Dickson.
MRS. DICKSON
(still only half-believing)
Why, Cyril, you're insane—
CLUETT
No. No, I'm not. I deliberately avoided
you. I was afraid of making a fool of
myself. But I won't stand it any longer—
MRS. DICKSON
Cyril!
? 136 ?
Before she realizes what has happened,
he has swept her into his arms and crushes
her to him. CAMERA PANS AWAY from them
to the door to the outer office. The
door opens and Matt steps in. He stops,
suddenly, transfixed by what he sees
off scene.
98. MEDIUM CLOSE SHOT
Phyllis Dickson in Cluett's arms (from
Matt's angle). They suddenly become
conscious of someone in the room and
Phyllis struggles free, looking off
scene toward Matt:
CUT TO:
99. CLOSE SHOT - MATT
From Cluett and Mrs. Dickson's angle.
He stares unbelievingly for a moment,
and then collecting himself, turns and
leaves the room, closing the door after
him. CAMERA PANS BACK to Cluett and
Mrs. Dickson. For a moment she is terribly
upset.
CLUETT
Please forgive me, Phyllis. I lost my
head for a minute. But I couldn't help
it, Phyllis.
As she starts for the door, CAMERA PANS
WITH HER. Cluett walks with her.
MRS. DICKSON
Please stop apologizing so much. You're
making it far too important.
As they reach the door.
CUT TO:
100. INT. ANTE ROOM OF CLUETT'S OFFICE
- MED. SHOT
Matt stands there, in a daze. Cluett's
secretary is not there. He starts slowly
forward, hardly knowing where he is
going - CAMERA TRUCKING AHEAD OF HIM
- there is a far-away look in his eyes.
His hand clutches the list of payrolls
but as far as he is concerned, it is
entirely forgotten. Several people talk
to him, but Matt walks on heedlessly.
He can't get over the shock of what
he just saw. He always had been under
the impression that Dickson's home life
was a happy one. He never dreamed that
Phyllis Dickson represented anything
but the height of circumspection. And
now - Cyril Cluett, of all people!
Helen comes running into scene, all
excited.
HELEN
(happily)
Matt, where have you been? Mr. Dickson
wants to see you right away. Hurry up!
He turns around mechanically and continues
to walk in the direction of Dickson's
office - CAMERA TRUCKING AFTER HIM.
Helen falls into step with him.
HELEN
Say, I just heard the merger isn't going
thru. Isn't that grand?
? 137 ?
MATT
(tonelessly)
Yeah, swell.
They reach Dickson's outer office. Matt
crosses it and exits into the private
office. Helen looks after him - her
face falls in disappointment. Matt is
acting very strangely. She thought he'd
be elated. She stares unhappily at his
forlorn figure as it disappears thru
the door.
CUT TO:
101. INT. DICKSON'S PRIVATE OFFICE -
MED. SHOT
Dickson sits at his desk when Matt enters.
When he sees Matt, his face breaks into
a broad, pleasant smile.
DICKSON
(grandly)
Well, Matt, get ready for the big moment.
Starting tomorrow you become assistant
cashier. How's that?
Matt crosses to the desk as Dickson
is speaking.
102. CLOSE SHOT AT DESK
As Matt stops in front of Dickson. Matt
cannot share Dickson's enthusiasm. The
scene he just witnessed has taken the
joy out of everything.
MATT
It's all right. Thanks.
DICKSON
And what's more, keep up the good work
and who knows - some day you'll be the
fellow sitting behind that desk . .
.
(the idea pleases him)
Not a bad thought, eh?
He suddenly notices Matt's lack of enthusiasm.
103. CLOSE SHOT OF THE TWO
Shooting toward Dickson.
He leans forward to look at Matt closely:
DICKSON
What's the matter? You don't seem very
excited about it.
MATT
(feebly)
Sure, I think it's swell.
DICKSON
(scrutinizing him closely, very much
hurt)
Say, come on. Show a little enthusiasm.
What's the matter? Are you sick or something?
Go on, fake it - even if it isn't real.
104. CLOSE SHOT - MATT
Shooting past Dickson.
Matt makes an attempt to snap out of
it - and answers quickly.
? 138 ?
MATT
Aw, I'm sorry, Mr. Dickson. It's just
kind of sudden, that's all.
(working up a little enthusiasm)
Sure, I'm excited. I think it's great.
Only, well, you've done so much for
me already . . . I'll never be able
to thank you enough.
105. MEDIUM SHOT
DICKSON
Aw, go on, forget it. You came through,
didn't you? That's all I wanted. A lot
of them didn't think you would. You
don't know how much satisfaction it's
been to me. It's been swell. Well, when
are you and Helen going to get married?
MATT
Well, I—
DICKSON
I suppose you want me to fix that up
for you too, eh?
They are interrupted by the sudden appearance
of Phyllis Dickson. Both men look up
as she appears in the door.
106. CLOSE SHOT - MRS. DICKSON
As she stops in doorway. She glances
fearfully, first at Matt and then at
her husband, trying to sense whether
Matt has said anything. She is quickly
assured by Dickson's affable greeting.
107. MED. CLOSE SHOT
As Dickson comes toward her, arms extended:
DICKSON
Well, look who's here! Hello, dear.
MRS. DICKSON
Hello, darling.
He kisses her. Then throws his arms
around her for an exaggerated "teddybear"
hug. Over Dickson's shoulder, Phyllis
looks gratefully at Matt.
108. CLOSE SHOT - MATT
He returns her glance. His eyes are
unable to disguise his contempt.
109. MED. CLOSE SHOT
Dickson and Phyllis. He releases her.
DICKSON
If this isn't a red-letter day for Tom
Dickson! First I trample on the Board
of Directors, then I promote Matt here
to assistant cashier, and now to complete
the day I have a visit from my sweet
and lovely and gorgeous wife. What a
man, what a man!
MRS. DICKSON
(with a half-smile)
It's amazing that your sweet, lovely,
gorgeous wife can ever get to see you.
? 139 ?
DICKSON
Oooh! That has the earmarks!
He notices Matt, still standing there,
uncomfortably.
DICKSON
(good-naturedly)
Are you still here? Go on - go to work!
What do you think I pay you for?
Matt exits.
CUT TO:
110. INT. ANTE ROOM OF DICKSON'S PRIVATE
OFFICE - MEDIUM SHOT
As Matt comes out and moves quickly
forward as if anxious to get away from
the embarrassing situation he found
himself in. Helen, upon seeing him,
jumps up.
HELEN
(excitedly)
What happened? What did he say? Did
you get the job?
MATT
(dolefully)
Yeah.
111. CLOSE TWO SHOT
She is perplexed by his unenthusiastic
attitude.
HELEN
What's the matter, Matt? Gee, I thought
you'd be thrilled to death.
MATT
Come here.
(he takes her aside)
You know, a few minutes ago I was in
Cluett's office and Mrs. Dickson was
there.
HELEN
Well . . . ?
MATT
Well, he was making love to her.
Helen, although she had a vague suspicion,
is shocked.
HELEN
(after a pause)
Oh Matt, you must be mistaken.
MATT
I tell you, I saw them!
Helen stares at him, horrified.
HELEN
In Cluett's office?
MATT
Yes, right in his office, the rat. I'd
like to take a crack at that guy.
? 140 ?
A telephone rings.
HELEN
(as she goes to answer the phone)
Wait a minute. Now don't go away . .
.
CUT TO:
112. INT. DICKSON'S PRIVATE OFFICE -
MED. CLOSE SHOT
Dickson is seated with Mrs. Dickson
on the arm of the chair.
DICKSON
(talking on the phone, as Mrs Dickson
waits patiently)
Yes George . . . yes, sure . . . Oh,
that's for tonight, eh? . . . Yes, certainly,
I'll be there . . . Yes, we'll go down
together and have dinner in Philadelphia
. . . Mrs. Dickson gets so upset . .
. That's right. . . . Yeah. . . . Just
as soon as the bank closes. . . . Right.
. . . Goodbye. . . .
He punches the intercom, speaks to Helen
in the outer office.
HELEN'S VOICE
Yes?
DICKSON
Helen, I'm going to Philadelphia, just
as soon as the bank closes. Make all
the arrangements, will you?
HELEN'S VOICE
Yes, sir.
Mrs. Dickson looks visibly upset. Dickson
can't help but notice.
DICKSON
What's the matter dear? What have I
done now?
MRS. DICKSON
Nothing. Tom, I thought you were going
out with me tonight.
DICKSON
Oh, I did have a date with you tonight,
didn't I?
MRS. DICKSON
Yes.
DICKSON
I'm terribly sorry. I'd forgotten all
about you. I'm so sorry, dear.
113. CLOSE SHOT OF THE TWO
Favoring Phyllis Dickson.
MRS. DICKSON
Now Tom, you simply cannot go to Philadelphia
tonight. That's all there is to it.
DICKSON
But I have to go, dear. It's a very
important banker's meeting.
? 141 ?
MRS. DICKSON
(interrupting)
I don't care whether it's important
or not. You said you were going out
with me, and if you hadn't promised
so faithfully, I wouldn't have gone
and planned the whole thing.
DICKSON
Listen, it isn't so terribly important.
We can go to the theatre any time.
MRS. DICKSON
The theatre?
114. MED. CLOSE SHOT
DICKSON
That's what it was you planned, wasn't
it?
MRS. DICKSON
(after a slight hesitation)
Yes, of course.
DICKSON
You can take some of the girls. You
can take Mildred - or Gwynn—
MRS. DICKSON
The girls! I don't suppose it ever occurred
to you that I might go out and find
myself an attractive young man . . .
115. CLOSE SHOT OF THE TWO
Shooting toward Dickson, as he laughs
boisterously.
DICKSON
Ho! Ho! Ho!
MRS. DICKSON
Ho, ho, ho, yourself! I wouldn't laugh
if I were you. You may not suspect it,
but I'm still attractive - to some.
DICKSON
Listen, don't go around being attractive
to anyone but me . . .
MRS. DICKSON
Well . . .
DICKSON
Don't you forget that I'm still the
head man around here too. Now we'll
get the tickets changed for tomorrow
night. You and I are going out together.
How's that?
MRS. DICKSON
Tomorrow night?
A buzzer sounds, and a visitor is announced
on the intercom.
DICKSON
Yes?
? 142 ?
VOICE
Mr. Gardner's here.
DICKSON
(answering the intercom)
Oh, yes. That's that lawyer. All right,
let him have nine thousand.
(returning attention to his wife)
Yes sir, I'll step you around this town
like you've never stepped before. We
will have dinner at the St. Regis -
then we'll go to a nice, snappy show
- then a nightclub - we'll listen to
soft music, and who knows? Ha! - I might
break down and dance with you!
MRS. DICKSON
(still skeptical)
All right. I'll postpone the whole thing
until tomorrow night.
DICKSON
(assuringly)
Happy now?
MRS. DICKSON
(mock-pouting)
No.
116. MEDIUM SHOT
He takes her in his arms and kisses
her.
DICKSON
(tenderly)
Poor kid, you know, I have been neglecting
you.
MRS. DICKSON
Oh, I don't care, darling. I love you,
anyway.
A buzzer sounds again, and Dickson answers
the intercom.
DICKSON
Yes?
HELEN'S VOICE
Mr. Sampson . . .
DICKSON
All right. Send him in.
There is a knock on the door. Dickson
moves away from his wife. He looks toward
the door.
117. CLOSE SHOT AT DOOR
Sampson, an executive in the bank, enters.
Sampson goes to Dickson with some papers
in his hand. He lays the papers on the
desk before Dickson.
DICKSON
Well, Sampson, what is it?
SAMPSON
Here's the data on the Clyde deal.
? 143 ?
118. CLOSE SHOT AT DESK
Dickson is all absorbed.
DICKSON
Good. I'll take this along with me.
Tell Clyde I'll see him tomorrow. I'm
sick and tired of the delay.
SAMPSON
I'm afraid he's been stalling.
DICKSON
That's just exactly what he has been
doing. This deal should have been closed
weeks ago. Tell him to keep tomorrow
open . . .
SAMPSON
He says he can't get away in the daytime.
DICKSON
How about his nights? He's too busy
running around. Tell him to keep tomorrow
night open, come in and sign this thing,
or I'll call this whole deal off.
SAMPSON
Yes, sir.
120. CLOSEUP - PHYLLIS DICKSON
She stands by a window, listening. There
is despair in her look as she hears
him making arrangements for tomorrow
night. Dickson's voice comes over this
shot:
DICKSON'S VOICE
I'm sick and tired of these people dilly-dallying.
People who can't make up their minds
. . .
Mrs. Dickson's eyes close hopelessly,
and she feels defeated. Again shut out
from his scheme of things, she realizes
he is incurable. On this picture of
resignation:
FADE OUT:
FADE IN
INSERT: CLOCK OVER THE VAULT, reading
5:07
CAMERA PANS DOWN to open vault.
121. INT. VAULT - MED. SHOT
Inside, several of the tellers are putting
their cash away. One of them is just
entering with his truck.
MATT
Everybody in?
TELLER
I guess so.
MATT
Where's Charlie?
? 144 ?
TELLER
(amused)
Charlie's upstairs as sore as a pup.
He's out fourteen cents, and he can't
find it.
AD-LIB VOICES
Good night. Good night, Matt.
CUT TO:
122. OUTSIDE OF VAULT - MED. CLOSE SHOT
Cyril Cluett is standing at the bottom
of a spiral staircase from which he
has just descended. He stops a second
and watches Matt, off scene. Cluett
has gloves on, his hat in his hand,
preparatory to going home. Matt does
not see Charlie.
CUT TO:
123. OUTSIDE OF THE VAULT - CLOSE SHOT
Matt and Helen standing near the vault
door.
HELEN
What's keeping you?
MATT
Oh, Charlie again.
HELEN
Say Matt, you haven't done anything
about what you saw today, have you?
MATT
(still upset)
Who? Cluett? No, not yet. But I'd like
to take a crack at that stiff-necked,
horse dollar.[6]
HELEN
Oh now, don't be silly.
MATT
(disgusted)
Can you imagine that guy? He was kissing
her.
HELEN
Now you've got me worried, dear.
(she kisses him)
Promise me you won't butt in.
MATT
Okay, honey - but just the same I'd
like to take a crack at that—
She puts her hand over her mouth:
HELEN
Shh . . . !
(whispering)
I'll wait for you upstairs.
MATT
All right, dear.
She leaves. Matt remains standing, a
far-away look in his eyes. It is obvious
he is thinking about the thing seriously.
? 145 ?
124. MEDIUM SHOT
The boys who were inside the vault now
file out, having properly locked away
their cash. At the same time, Charlie
wheels in his truck.
MATT
(kidding him)
Where you been?
CHARLIE
(annoyed)
Where do you think I've been?
(pointing to truck)
I took the baby for a stroll in the
park.
The men hurry out of sight, laughing.
Charlie disappears into the vault. Matt
enters the vault, his mind still preoccupied.
125. INTERIOR VAULT MED. SHOT
As Matt goes directly to the burglar
alarm.
INSERT: BURGLAR ALARM
As Matt's hand comes into scene and
throws the switch down toward sign reading
ON.
BACK TO SCENE:
Matt starts to the vault door:
MATT
What's the matter, Charlie?
CHARLIE
I'm fourteen cents out, and it took
me half an hour to find the mistake.
And me with a date, too.
MATT
I remember once when your account checked.
CHARLIE
Yeah.
Matt goes to the time clock to check
it up. He tinkers with it a moment.
CUT TO:
126. OUTSIDE OF VAULT - MED. CLOSE SHOT
Matt has just finished adjusting the
time clock as Charlie comes out of the
vault.
MATT
(pointing to time clock)
And listen, wise guy - I'm setting friend
time clock for exactly nine o'clock,
so no squawks out of you guys in the
morning.
CHARLIE
(as he exits)
Say, don't annoy me. I got troubles
of my own.
Matt smiles. He starts to shut the vault.
He has it swinging half-way around when
Cluett enters. When Matt sees Cluett,
the smile dies on his lips.
? 146 ?
CLUETT
Are the payrolls ready for tomorrow?
MATT
Yes, sir.
CLUETT
(peremptorily)
Let me see your cash book, will you?
MATT
Now?
CLUETT
Yes, now.
Matt looks at him a moment antagonistically.
He has half a mind to talk to him right
now, but he recalls Helen's admonitions
and thinks better of it.
MATT
All right, sir.
He exits into vault. The moment he is
gone, Cluett crosses quickly to the
time clock.
INSERT: TIME CLOCK
As Cluett's gloved hand comes in and
turns the indicator back to 12 o'clock.
127. INTERIOR VAULT - MED. CLOSE SHOT
Matt has opened a compartment and has
brought out several sheets of paper.
He goes thru them to find the one he
wants.
INSERT: TIME CLOCK
Cluett's hand is seen throwing the switch
up to indicator reading OFF.
BACK TO SCENE:
As Matt comes up to Cluett with a cash
report. Cluett glances over it.
CLUETT
(returning sheet)
That's all right. But it seems to me
you're carrying too much cash.
He exits. Matt glares belligerently
at him.
CAMERA PANS with him as he returns the
paper to compartment. He locks the compartment
door, switches off the light in vault
and CAMERA PANS WITH HIM as he starts
out of the vault. As he swings the large
vault door closed,
FADE OUT:
FADE IN
128. EXT. SIDEWALK IN FRONT OF APT.
HOUSE - NIGHT - MED. SHOT
As a cab drives up to curb in the middle
of a downpour, and stops.
129. INT. TAXICAB - CLOSE SHOT - CLUETT
AND MRS. DICKSON
They are in evening clothes, apparently
they had some drinks, as phyllis is
in a gay, frivolous mood.
? 147 ?
CLUETT
(to driver)
Driver?
DRIVER'S VOICE
Yes.
CLUETT
Have you the correct time?
DRIVER'S VOICE
12:05.
CLUETT
12:05. Fine.
MRS. DICKSON
(looking out)
What's this?
CLUETT
My apartment.
MRS. DICKSON
(mock-melodramatic)
I knew I couldn't trust you. You told
me you were taking me home.
CLUETT
Come on up for just a few minutes. We'll
have just one drink, then we'll go.
MRS. DICKSON
(definitely)
No. I know the answer to that one.
(shaking her head)
I think you'd better take me home.
CLUETT
What's the matter? Afraid papa will
spank?
130. CLOSER SHOT ON THE TWO
MRS. DICKSON
No. No, I'm afraid papa isn't that much
interested. He's too busy rushing off
to Philadelphia to make stuffy, old
speeches at stuffy, old bankers' meetings.
Too busy closing big, important deals—
(on second thought)
I think I will have a drink.
CLUETT
Good for you. Come on.
LAP DISSOLVE TO:
131. INT. CORRIDOR OUTSIDE CLUETT'S
APT. - MED. CLOSE SHOT
Cluett and Mrs. Dickson emerge from
the elevator and cross to his apartment,
CAMERA FOLLOWING THEM. Cluett fumbles
in his pocket for the key.
? 148 ?
MRS. DICKSON
You know, there ought to be a Congressional
Medal for men like you. America's comfort
to misunderstood wives. I never thought
I would find myself in that class.
CLUETT
Oh, you're not so badly off. There's
something much worse than being a misunderstood
wife.
MRS. DICKSON
What is that, Mr. Bones?[7]
CLUETT
A misunderstood bachelor.
Cluett smiles. He has the door open
by now and stands aside to permit her
to enter.
CUT TO:
132. INT. CLUETT'S APARTMENT - MED.
CLOSE SHOT
At door. Phyllis Dickson has just stepped
in, and Cluett follows. He closes the
door and locks it.
CLUETT
(mock-melodramatic)
And now fair woman, I have you in my
power.
MRS. DICKSON
(playing along)
I'm not afraid of you. You haven't got
a moustache!
CLUETT
I'll grow a moustache by the time you
get out of here.
CAMERA TRUCKS WITH THEM as he chases
her into the next room. She alights
on a piano bench, and runs her fingers
up and down the scales. Suddenly Cluett
stops. He stares off, a look of amazement
in his face. Mrs. Dickson turns and
follows his gaze and she, too, is startled.
CAMERA PANS QUICKLY over to the other
side of the room. Matt sits on the edge
of a chair waiting for them. He rises,
looks off toward Cluett and Mrs. Dickson.
As he starts forward, CAMERA PANS BACK
to Cluett and Phyllis.
MRS. DICKSON
Why, Matt!
CLUETT
(when he recovers from his surprise)
What are you doing here?
Matt enters the scene.
MATT
The butler said I could stay. I told
him it was important.
CLUETT
Oh, yeah?
? 149 ?
Cluett steps over to a bell cord and
pulls it.
MATT
He's not here. He left at nine o'clock.
He said you gave him the night off.
Cluett wheels around, infuriated.
CLUETT
What do you want?
133. CLOSE SHOT OF THE TWO
Favoring Matt.
MATT
(uncomfortably)
Well, I thought I'd like to have a little
talk with you.
CLUETT
(sharply)
I'm listening.
MATT
(hesitatingly)
It's funny - now that I'm here, I don't
know just how to go about it.
(a glance toward Mrs. Dickson)
You see, I kind of expected to find
you here alone.
As Cluett starts away:
MATT
Do you mind stepping outside? We could
talk—
134. MEDIUM SHOT
Cluett crosses to the door, where he
stands, ready to open it. Mrs. Dickson
stands by helplessly.
CLUETT
(a tone of dismissal)
Anything you have to say to me, you
can say in the morning.
MATT
Oh no, Mr. Cluett, if it's all the same
to you, I'd rather not wait. It's about
you and Mrs. Dickson.
Cluett releases his hold on the doorknob.
Mrs. Dickson looks at Matt uneasily
- she is quickly sobering.
CLUETT
(aghast)
About me and . . .
He crosses slowly toward Matt.
PHYLLIS
Why Matt, what are you talking about?
? 150 ?
135. CLOSER SHOT OF THE THREE
MATT
(quickly)
I know I've got a lot of nerve butting
in like this, but I just couldn't help
it. I thought I could stop two people
from doing something they'd be sorry
for.
CLUETT
(livid)
I'm not interested in what you think.
MATT
You've no right to do this to her, Mr.
Cluett. Why don't you think it over?
It's only gonna get you into a lot of
trouble.
CLUETT
I tell you, I'm not interested in your
opinion.
MATT
(turns to Phyllis)
No? Then maybe you'll understand, Mrs.
Dickson. Oh, gee, he's crazy about you.
Nobody knows it better than you. If
he ever finds out, it'll kill him.
MRS. DICKSON
But Matt, you're mistaken about the
whole thing. There isn't anything wrong.
Mr. Cluett and I simply came here—
136. CLOSE SHOT - MATT & CLUETT
Shooting toward Matt.
CLUETT
(to Phyllis)
Phyllis, you don't have to explain anything.
(snappily, to Matt)
You'd do well to mind your own business.
MATT
(wheeling on him)
This is my business. Mr. Dickson's been
like a father to me.
(his voice rising)
What has he ever done to you to deserve
a deal like this?
CLUETT
(livid)
That will be just about enough! Now
get out of here!
MATT
I guess I have said enough
(bitterly)
I'm just wasting my breath talking to
you.
137. WIDER ANGLE
Taking in Mrs. Dickson, who stands slightly
apart from the two men.
? 151 ?
CLUETT
You're right for the first time. Now
get out!
Matt ignores Cluett and looks toward
phyllis Dickson.
MATT
I'm appealing to you, Mrs. Dickson.
Think what you're doing to him. You're
passing up the whitest man on earth—
(flaring up)
—for a dirty, no-good.
Before he finishes the sentence, Cluett
punches him. Matt, caught unawares,
is thrown off balance and sent reeling.
He drops between two chairs. Now, livid
with rage, he pulls himself up, murder
in his eyes. Cluett crosses quickly
to a desk near the door, opens a drawer
and extracts a revolver.
MRS. DICKSON
(frightened - cries out)
Cyril!
Matt, who was started toward Cluett,
stops in his tracks upon seeing the
gun.
138. CLOSE SHOT
Shooting toward Cluett.
CLUETT
(under his breath)
Now get out of here!
CAMERA PANS WITH MATT to the door.
MRS. DICKSON'S VOICE
Wait a minute, Matt!
Matt turns as she enters the scene.
MRS. DICKSON
I'll go with you.
CLUETT'S VOICE
But phyllis!
Mrs. Dickson steps closer to Matt's
side. Cluett comes up to them.
CLUETT
You needn't go on account of this idiot.
Matt has opened the door.
MATT
(quietly)
You better carry that around with you
all the time - you're going to need
it.
Matt follows Mrs. Dickson out, leaving
Cluett glaring after them.
139. INT. OF BANK - NIGHT
A series of quick vignettes:
Cluett's watch, showing 12:07.
? 152 ?
A wall clock, showing 12:07.
A night watchman, alerted by suspicious
noise, creeping up to the vault.
The night watchman, shot by figures
in the shadows.
A small number of men rush out of the
vault, clutching money bags and toting
guns.
The night watchman, getting off a shot,
before he crumples to the floor.
FADE OUT:
FADE IN
140. INT. VAULT ROOM OF BANK - CLOSEUP
ON DOOR
The vault door, partly opened. Over
the shot we hear excited murmurs.
CAMERA STARTS TRUCKING BACK SLOWLY,
until it takes in the full room. A fingerprint
expert is working on the time clock
for finger-print impressions. The medical
examiner bends over the body of the
watchman, whose face is covered with
a cloth. A detective in charge of the
proceedings stands around, looking very
officious.
DETECTIVE
What do you say, Doc?
DOCTOR
Oh, I'd say about eight or nine hours.
DETECTIVE
Well, you'd better call the coroner.
CAMERA CONTINUES TRUCKING BACK, until
it passes a group of tellers and clerks
in a huddle. They listen breathlessly
as Oscar, the youngest of the tellers,
relates his story. For the moment he
is the center of attraction, and he
revels in it.
OSCAR
(breathlessly)
I was the first one to see it. I was
coming down the stairs, and there was
the dead watchman at my feet. You coulda
knocked me over with a pin.
AD-LIB FROM LISTENERS
(murmuring)
Gee . . . Can you imagine . . .
OSCAR
Do you see that clock? Right there.
That's where the bullet hit. When I
saw that, you coulda knocked me over
with a pin.
CLERK
Was there much blood?
OSCAR
Blood!
(gesturing toward body)
Come on over fellas. I'll show you.
The clerks head toward the dead body,
but are intercepted by the officious
detective.
? 153 ?
DETECTIVE
(officiously)
Get back there . I don't want anything
touched until the Inspector gets here.
The clerks, awe-stricken, retreat.
CHARLIE
(running up)
Oscar, what's the matter?
OSCAR
I was the first one to see it. I was
coming down the stairs, and there was
the watchman lying dead at my feet.
CHARLIE
No kidding?
OSCAR
No kidding. When I saw it, you coulda
knocked me over with a pin.
CHARLIE
Where's Matt?
OSCAR
Matt?
CHARLIE
Yeah. He'll have a tough time thinking
up a wise-crack for this one . . .
OSCAR
The detectives got Matt up there in
Sampson's office.
CHARLIE
He has?
OSCAR
Yeah.
CLERK
Say, did Matt do it?
OSCAR
Don't look at me. I don't know.
TELLER
Say, he did look kinda funny yesterday,
didn't you notice it?
OTHERS
Yeah, he did. I noticed it too.
OSCAR
You coulda knocked me over with a pin!
CUT TO:
141. INT. SAMPSON'S OFFICE - CLOSEUP
- MATT'S FRIGHTENED FACE
He sits in a chair. The side of his
face is swollen from Cyril Cluett's
punch of the night before.
? 154 ?
INSPECTOR'S VOICE
(like a tri-hammer)
Come on, come on. You might as well
tell me the truth. What did you do with
the money?
MATT
I didn't do it. I told you all I know,
Inspector.
CAMERA TRUCKS BACK revealing the other
occupants of the room. The Inspector
leans over Matt, firing questions at
him. Two detectives are also there,
one at the door, the other near Matt.
Helen stands in a corner, pale and fearful,
looking on.
INSPECTOR
You turned off the burglar alarm, you
set the time clock, came back at twelve
and emptied the boxes, didn't you?
MATT
(rises in indignation)
I wasn't anywhere near this place—
INSPECTOR
(shoving him back down)
Sit down! When the watchman surprised
you, you shot him - what'd you do with
the gun?
MATT
(desperately)
I didn't do it! I haven't got a gun!
INSPECTOR
You used to carry a gun, didn't you?
142. MEDIUM SHOT
Sampson enters hesitantly.
SAMPSON
Pardon me, but I'd like to use my office
for awhile!
INSPECTOR
(bellowing)
You use some other office!
Sampson exits scene hurriedly.
CUT TO:
143. INT. LOBBY OF BANK AT ENTRANCE
- MED. CLOSE SHOT
The doorman, Gardiner, stands at the
door, blocking a milling crowd, as Dickson,
who apparently has already heard the
news, enters.
PEOPLE
Come on, open up!
DICKSON
Good morning, everybody. What's the
matter here? Open up the door. Come
on, open this door.
GARDINER
Shall we let the people come in?
? 155 ?
DICKSON
(snappily)
Of course, let them in! You're late
now.
CAMERA TRUCKS WITH DICKSON as he proceeds
toward interior of bank. Helen rushes
into the scene and up to him. CAMERA
STOPS.
HELEN
Oh, Mr. Dickson - they're going to arrest
Matt. They think he did it!
DICKSON
Where is he now?
HELEN
In Mr. Sampson's office.
DICKSON
Now don't you worry about it.
He crosses in that direction, followed
by Helen.
CUT TO:
143. INT. ANTE ROOM OF CLUETT'S OFFICE
- MED. SHOT
Cluett comes out of his office, looks
around cautiously and satisfied he is
unobserved, walks toward front door
of bank.
CAMERA PANS over to a corner of the
ante room. Detective #3 is watching
Cluett. As Cluett leaves, the detective
follows.
144. INT. SAMPSON'S OFFICE - MED. SHOT
Matt is still seated, with the detectives
grilling him.
INSPECTOR
Then you did it and you did it alone—
Dickson enters.
DICKSON
(to Matt)
What's the matter? What's going on here?
(to the Inspector)
This is ridiculous! You can't hold this
boy on a vague suspicion.
145. CLOSER SHOT OF THE GROUP
INSPECTOR
I'm afraid I must, Mr. Dickson.
DICKSON
Why pick on him ?
INSPECTOR
It's an inside job. That's a cinch.
Whoever did it had a pretty good picture
of the layout. Now Brown, here, is in
charge of the vaults, isn't he?
DICKSON
Yes.
? 156 ?
146. CLOSEUP - MATT
Over which comes Inspector's voice as
he continues:
INSPECTOR'S VOICE
The burglar alarm was turned off. The
time clock was set for 12 o'clock. What
more do you want?
DICKSON'S VOICE
Somebody else could have done it, couldn't
they?
INSPECTOR'S VOICE
He admits that he set the clock himself.
Matt looks up toward inspector.
MATT
I did. I set it for nine o'clock this
morning.
147. MED. CLOSE SHOT - GROUP
As the Inspector turns to Matt:
INSPECTOR
Then who changed it?
MATT
(helplessly)
I don't know.
DICKSON
Wait a minute. Wait a minute.
The Inspector turns back to Dickson.
DICKSON
What time did this thing happen?
INSPECTOR
The clock opposite the vault was stopped
by a bullet at 12:09.
DICKSON
All right. If the boy proves an alibi,
he's all right, isn't he?
INSPECTOR
If he can do it, yes.
DICKSON
Why, certainly he can.
(to Matt)
Matt, now all you've got to do is tell
them where you were last night, between
twelve and twelve-thirty, and everything
will be all right.
MATT
(averting Dickson's gaze)
I already told him I was home.
DICKSON
(to Inspector)
There you are.
? 157 ?
INSPECTOR
That's what he says. I got a man from
headquarters checking up on it now.
DICKSON
(confidently)
Good.
(to Matt, smiling)
You've got nothing to worry about. Soon
as the report comes in, you'll be released.
(to Inspector)
And listen, don't talk so loud. Take
it easy. Coast a little.
He exits scene.
148. INT. THE LOBBY OF THE BANK - FULL
SHOT
Showing the normal activity of the bank
in contrast to the turmoil going on
inside. Just a few people scattered
about.
CAMERA TRUCKS towards the other end
of the lobby, establishing the calm
and peace of the place along the way.
CAMERA STOPS on a CLOSE SHOT at the
bank telephone operator at the switchboard.
Oscar, the young teller, is relating
his story for the hundredth time.
OSCAR
Gee, what do you think? There was that
watchman, that poor watchman, lying
on the floor right in front of me. Oh,
you coulda knocked me over with a pin!
OPERATOR
(wide-eyed)
You don't say! Dead?
OSCAR
Dead? He was lifeless! You know, I was
the first one to see him. I was coming
down the stairs, and there was the watchman
lying on the floor, right in front of
me. Dead! I tell you, you coulda knocked—
OPERATOR
(interrupting)
Yeah, I coulda knocked you over with
a pin.
OSCAR
Yeah, you coulda—
(realizes he is getting the brush-off)
Oh - almonds to you! Almonds!
Oscar exits scene. The operator turns
her attention to the switch-board, apparently
Oscar has interrupted a conversation
she has been having.
OPERATOR
Hello, Mame. This is Gert, again—
(pause)
Say, listen - I just heard something
that'll make your head swim . . . Listen
to this . . . Yeah, the bank was robbed
last night. Yeah, over a hundred thousand
dollars.
? 158 ?
149. ANOTHER SWITCHBOARD OPERATOR -
CLOSE SHOT
MAME
(into phone)
Who did it?
GERT
I don't know who did it, but the chief
teller's in an awful jam.
MAME
Call me up later. I'm going to call
up Lou now.
She pulls the plug, plugs in another
wire.
MAME
Hello, Lou. Did you hear what happened
over at the Union National Bank?
(a light flashes)
Wait a minute, Lou.
(plugs in wire)
Hello? Yes, sir. I'm trying to get them.
(pulls plug)
Yes, Lou, listen. They was robbed over
two hundred thousand dollars. Can you
beat that?
LAP DISSOLVE TO:
150. EXT. FRONT OF AN OFFICE BLDG. -
MED. SHOT
Two men coming out of the building,
engrossed in conversation.
MAN
Stole over a quarter of a million. Can
you beat that?
The other man whistles in surprise.
2ND MAN
(whistling)
Whew! You can't laugh that off.
Several people in the crowd, overhearing
them, turn and stare.
LAP DISSOLVE TO:
151. EXT. A STREET CORNER - MED. CLOSE
SHOT
Of an old lady, pitiful expression,
begging alms. Two gentlemen are beside
her. One of them reaches in his pocket
for a coin.
3RD MAN
I thought the Union National was pretty
solid.
At the mention of the Union National,
the old lady looks up, startled.
4TH MAN
I did too.
3RD MAN
Half a million is a lot of money. I
wouldn't be surprised if they had to
close their doors.
? 159 ?
The first man drops a coin in the old
lady's palm and they leave. The beggar
woman, oblivious of the coin in her
hand, stares unbelieving, at the departing
men. Suddenly her face screws up in
horror.
OLD LADY
Oh, good gracious!
She dashes out of scene.
LAP DISSOLVE TO:
152. EXT. A BOOTBLACK STAND - MEDIUM
SHOT
A colored bootblack is brushing the
coat of a customer.
MAN
Sammy, are you sure about that?
SAM
(emphatically)
Yes, suh! That messenga boy just tol'
me that Mr. Dickson took it all hisself.
And it was more than a million dollars.
MAN
More than a million dollars?
SAM
(breathlessly)
Cross my heart. And I sure hopes that
man gets a long time in jail, too!
MAN
Never mind my shoes, Sam.
He hastily exits scene.
LAP DISSOLVE TO:
153. INT. A BARBER SHOP - MED. CLOSE
SHOT
Taking in two chairs. The man on the
right, being shaved, is in conversation
with the barber.
CUSTOMER
Well, I always said the Union National
was a phony bank.
The second customer sits straight up
in his chair.
ANOTHER CUSTOMER
Union National?
BARBER WITH FRENCH ACCENT
You had money in that bank, too?
SECOND CUSTOMER
Yes. Something wrong?
BARBER WITH FRENCH ACCENT
(hysterical)
Mon dieu, mon dieu! Run, run!
Second customer dashes out of scene.
? 160 ?
LAP DISSOLVE TO:
154. INT. A BAR - MED. CLOSE SHOT
Two men are in conversation. Another
man is alone. One of the two men holding
the conversation is the man of the bootblack
episode.
MAN
(of bootblack episode)
I tell you, I got it from the best authority.
Dickson got away with several million
dollars.
155. CLOSE SHOT - 3RD MAN
He is just reaching for his glass, and
starts to lift it to his lips when another
man's voice comes into scene.
2ND MAN'S VOICE
Boy, that's the end of the Union National
Bank. That's the trouble nowadays. You
don't know who you can trust.
MAN
You said it.
The third man drops the glass and turns
toward the two, panic-stricken.
156. MED. CLOSE SHOT OF THE THREE
3RD MAN
Say, is there something wrong with the
Union National Bank?
2ND MAN
Something wrong? Brother, that ain't
the half of it!
MAN
If you've got any money in there, you
can just kiss it goodbye.
3RD MAN
(throatily)
Naw, you're kidding—
MAN
No, I'm not.
3RD MAN
Holy smoke!
He rushes out of the scene. The other
two stare after him.
2ND MAN
(over-his-shoulder, to third man)
If you've got any friends, you'd better
call them up too.
MAN
That's a good idea. I have friends of
my own.
He dashes out of scene.
? 161 ?
2ND MAN
(turning to bartender, who has been
eavesdropping with interest)
Imagine that!
BARTENDER
What bank did you say that was?
2ND MAN
Union National Bank. They're broke.
Haven't got a dime . . .
LAP DISSOLVE TO:
157. PHONE MONTAGE
Quick cuts of excited phone conversations.
MAN
(into phone)
Listen, Jack, go down to the Union National
and take your money out of there. Don't
ask me how I know. I told you it's on
the rocks. If you've got any friends,
you'd better tell them too.
ANOTHER MAN
(into phone)
Better give all the men in your plant
a couple of hours off to get their money
out—
WOMAN
(into phone)
Tell Mrs. Hardy to tell everybody in
the apartment house—
TOUGH GUY
(into phone)
All right. I'll get it or bust a few
noses!
ANOTHER MAN
(into phone)
Holy smoke! I'll get right down there
if I have to fly!
ANOTHER WOMAN
(into phone)
Run down there and get your money at
once!
AD-LIB VOICES
(quick cuts - a rising tide - different
languages)
Hello, dear . . . Hurry! . . . Union
National is sunk! . . . I told you to
put it in the vault . . . I don't know
what's wrong with the bank . . . I wouldn't
trust anybody . . . everybody's taking
their money out . . . Union National's
broken . . . Why take any chances? .
. . Hurry! Call the others! etc.
LAP DISSOLVE TO:
158. INT. LOBBY OF THE BANK - FULL SHOT
Showing in comparison to previous shot,
the effect of the rumors. The lobby
is buzzing with activity. Lines form
in front of all the windows. Depositors
crowd around the writing tables. There
are not
? 162 ?
enough pens to go around. Frantic hands
reach over shoulders for withdrawal
blanks. CAMERA MOVES FORWARD. Over the
shot is heard the seething blend of
many voices.
CAMERA STOPS ON a Teller and a Man.
TELLER
Closing your account?
MAN
Yes, sir. I'm closing my account. I
wouldn't leave a nickel in this bank.
CAMERA STOPS ON a 2nd Man talking to
a Woman.
2ND MAN
It's getting so a man's money ain't
safe unless it's in his sock.
WOMAN
They're all a bunch of crooks.
2nd MAN
You said it.
CAMERA STOPS ON Jewish Man talking to
a 4th Man standing next to him.
JEWISH MAN
Say, did I know the bank was going to
go caflooey? What am I - a fortune teller
or something?
CAMERA STOPS on a MED. CLOSE SHOT of
Molly (the Zasu Pitts type). She is
reaching over a man's shoulder to capture
a withdrawal blank.
MOLLY
(fluttering)
Oh, my goodness! Oh, my goodness! Oh,
my goodness!
MAN
What's the matter, lady?
MOLLY
Oh, mister, I gotta! I gotta!
MAN
Well, they only sign slips here.
MOLLY
Gimme your pen, please!
She grabs pen away from him. He turns
to someone next to him.
MAN
Will you loan me that pen of yours?
I'm in an awful hurry.
CAMERA MOVES ON to a CLOSE SHOT of a
teller frantically beckoning Sampson.
? 163 ?
TELLER
I need some more money! All of the depositors
are withdrawing.
SAMPSON
I know, I know. I'll get you some.
He hurriedly exits scene.
CUT TO:
159. INT. SAMPSON'S OFFICE - MED. SHOT
Inspector is still holding his ground.
Matt sits dejectedly in the same place
as before.
INSPECTOR
(to Dickson)
All I know is the bank's been robbed
and a murder's been committed. The way
I see it, Brown here looks guilty.
160. CLOSER SHOT ON GROUP
DICKSON
What are you talking about? He had no
more to do with it than you did.
INSPECTOR
Maybe. But I'm taking no chances.
(emphatically)
Why, this kid's got a record.
DICKSON
So have you. So have I. So's everybody
got a record. What difference does that
make? You can't go around pinning crimes
on people just because they—
He is interrupted by the sound of the
door opening. He looks off toward door.
161. CLOSE SHOT AT DOOR
Sampson stands there, looking off toward
the group.
SAMPSON
Mr. Dickson! Can I see you for a minute?
DICKSON'S VOICE
No, I'm busy. See me later.
SAMPSON
But this is important, Mr. Dickson.
Looks like there's a run on the bank.
162. MED. CLOSE SHOT
Dickson and the others. Dickson looks
off at Sampson, unbelievingly:
DICKSON
What? A run on the bank!
CAMERA PANS WITH HIM as he rushes over
to the door to Sampson.
? 164 ?
SAMPSON
The lobby's half filled now.
DICKSON
What are you talking about?
Dickson goes out the door, followed
by Sampson.
163. OUTER OFFICES OF BANK - MED. CLOSE
SHOT
As Sampson and Dickson come into the
scene.
SAMPSON
(pointing in front of him)
Look!
Dickson looks in the direction in which
Sampson points.
CUT TO:
164. INT. LOBBY OF BANK - LONG SHOT
From Dickson's angle.
This shot takes in the length of the
bank. Clerks, bookkeepers, stenographers
in the f.g., the lobby in the b.g. It
seems a little more crowded than in
previous shot.
CUT BACK TO:
164. OUTER OFFICES OF BANK - MED. CLOSE
SHOT
Sampson and Dickson. Dickson's face
clouds.
SAMPSON
They've been coming in steady all morning.
I have called for some extra police.
DICKSON
(his eyes glued on the crowd)
All right. Send down to the vaults and
have our reserve cash sent up here right
away.
SAMPSON
We haven't much on hand, you know. If
it gets any worse, I hope we don't have
to close the doors.
165. CLOSE SHOT
Favoring Dickson.
He turns to Sampson.
DICKSON
(flaring up)
The bank's reputation wouldn't be worth
a nickel after that. This is just a
flurry, that's all. They've heard about
the robbery and got panic-stricken.
Listen, get ahold of our available securities
and have them turned into cash. Wait
a minute. Get my personal stuff and
have that turned into cash too. Tell
the boys anyone caught arguing with
a depositor will be fired on the spot.
SAMPSON
Yes, sir.
? 165 ?
166. MEDIUM SHOT
As Sampson leaves. Dickson starts out
in the direction of Sampson's office.
He is stopped by his name being called:
CLARK
Mr. Dickson!
Dickson turns. Clark and several directors
appear.
CLARK
(grimly)
We want to talk to you.
DICKSON
What about?
CLARK
We'll discuss that in the board room.
He turns to follow, then is stopped
by another voice.
DETECTIVE
Oh, Mr. Dickson! We got a check on Brown's
alibi. Do you want to hear it?
DICKSON
(only a slight hesitation)
All right.
(to Clark)
I'll be with you in a minute, Clark.
CUT TO:
167. INT. SAMPSON'S OFFICE - MED. CLOSE
SHOT
Dickson is by Matt's side. The Inspector
is also in scene. Dickson puts a hand
on Matt's shoulder.
DICKSON
Now don't worry, son. All you got to
do is answer the questions they ask
you, that's all.
CAMERA PANS TO THE DOOR as it opens
and a detective enters, beckons to the
Inspector off scene.
168. MEDIUM SHOT
As the Inspector crosses to the new
arrival, who whispers something in his
ear. The others in the room watch them,
interested. The Inspector whispers instructions
to the detective, who leaves. The Inspector
then crosses slowly to Matt.
169. MED. CLOSE SHOT
As the Inspector comes up to the group
around Matt.
INSPECTOR
(carelessly)
So you were home last night?
MATT
(averting his gaze)
Yes.
INSPECTOR
What time did you get in?
? 166 ?
MATT
(haltingly)
Well, about - uh - eleven o'clock.
INSPECTOR
Eleven o'clock, eh? Are you sure it
was that?
MATT
Yes.
The Inspector turns away and CAMERA
PANS WITH the Inspector as he crosses
quickly to the door and beckons to the
detective outside.
INSPECTOR
All right, Kelley.
Kelley returns to the room accompanied
by a little old Irish woman. She looks
around the room nervously. Inspector
leads her toward Matt.
170. MED. SHOT OF GROUP
As everyone stares at her curiously.
INSPECTOR
(indicating Matt)
Do you know this young man, Mrs. Halligan?
MRS. HALLIGAN
Sure I do. He has the best room in me
house. The one with the fancy wallpaper.
171. CLOSEUP - MATT
He feels himself cornered. The Inspector's
voice comes over the shot.
INSPECTOR'S VOICE
Did you happen to be awake when he came
in last night?
MRS. HALLIGAN
Yes, sir. I was having me hot mustard
bath.
INSPECTOR
What time was it?
172. MED. CLOSEUP - GROUP
As Mrs. Halligan continues.
MRS. HALLIGAN
—for the rheumatism, you know.
INSPECTOR
What time was it, Mrs. Halligan?
MRS. HALLIGAN
It was late, I know. The Dooley sisters
was already in. They work at a show,
you know.
The Inspector is getting impatient.
INSPECTOR
What time was it?
? 167 ?
MRS. HALLIGAN
Huh?
INSPECTOR
What time did Matt Brown get in?
MRS. HALLIGAN
Now, let me see - a half hour after
the Dooley sisters - and the Dooley
sisters never get home until after—
INSPECTOR
(snappily)
I don't care about the Dooley sisters
- what time did he get in?
MRS. HALLIGAN
That's just what I'm trying to tell
you, sir. It was a half hour after the
Dooley sisters . . .
INSPECTOR
Was it twelve o'clock?
173. MED. CLOSE SHOT
Dickson, Matt, and the rest of the group.
Some show their amusement. Dickson and
Matt, however, are serious. Mrs. Halligan's
voice comes into scene.
MRS. HALLIGAN
No, it wasn't twelve - 'cause the Dooley
sisters . . .
INSPECTOR'S VOICE
(interrupting her quickly)
Was it one o'clock?
174. CLOSE SHOT
Inspector and Mrs. Halligan.
MRS. HALLIGAN
Yes, I guess it was one, 'cause . .
.
INSPECTOR
(jumping her)
It couldn't have been earlier?
MRS. HALLIGAN
No. It wasn't earlier because . . .
INSPECTOR
Yes, I know. Cause the Dooley sisters
weren't in yet.
MRS. HALLIGAN
(firmly)
No - because me clock struck four, and
when it strikes four, it's one.
INSPECTOR
(exasperated)
There you are!
175. MEDIUM SHOT
Matt speaks:
? 168 ?
MATT
Aw, she doesn't know what she's talking
about.
Mrs. Halligan looks at him, offended.
MRS. HALLIGAN
Who don't know?
She comes toward him threateningly.
MRS. HALLIGAN
Listen here, young man - nobody ever
called me a liar yet and got away with
it—
INSPECTOR
(coming after her, takes her arm)
That's all, Mrs. Halligan. Thanks.
Inspector leads her to the door. On
the way Mrs. Halligan continues to mumble
her protest against Matt's insult.
MRS. HALLIGAN
For two nickels I'd knock his block
off. I never told a lie in me life.
She exits out of room.
176. MED. CLOSE SHOT
As Dickson steps closer to Matt.
DICKSON
(heartsick)
Is that true, Matt?
Inspector comes up to them now.
INSPECTOR
Of course it's true - and he knows it.
DICKSON
(tenderly)
Listen, Matt. If you don't tell the
truth, I can't help you. Where were
you last night?
MATT
(after a pause)
Aw, she was right. I didn't get in till
after one o'clock.
Dickson is deeply disappointed.
MATT
(quickly - appealingly)
But I wasn't here, Mr. Dickson. Honest
I wasn't . . .
The Inspector barks at Matt:
INSPECTOR
Then where were you?
177. CLOSE SHOT
Favoring Dickson as he leans closer
to Matt.
? 169 ?
DICKSON
(to Inspector)
Wait a minute. Wait a minute.
(to Matt)
Matt, do you realize you're up against
something? You're being charged with
murder. It's serious, son. Now come
on, I know you didn't do it.
(gestures toward Inspector)
But we've got to make them believe it.
Come on, tell the truth, where were
you last night?
MATT
(doggedly)
I can't tell you.
Matt maintains a determined silence.
DICKSON
(getting an idea)
Listen, if I get them out of the room,
will you tell me ?
Matt looks at him. Dickson is the only
person he cannot tell his secret to.
MATT
No. I won't.
DICKSON
You're protecting somebody.
MATT
No, I'm not Mr. Dickson!
DICKSON
Yes, you are. You're protecting somebody.
Now listen, it doesn't make any difference
who it is. It can't be as important
as this. Now come on, tell me. Where
were you last night?
(a note of desperation)
Come on, don't be a fool. Matt, you
trust me, don't you?
No reply from Matt. Dickson is heartsick.
He turns, helplessly, away from Matt
and walks out of Sampson's office.
CUT TO:
178. INT. THE LOBBY OF THE BANK - CLOSE
SHOT
Of Gert, the telephone operator.
GERT
(all excited - into phone)
What a day, Mame! Everybody's coming
in and drawing their money out.
(innocently)
Gee, Mame - I wonder what started it.
179. THE LOBBY OF THE BANK - LONG SHOT
Shouting from the offices. The lobby
is now packed to the doors with frantic
depositors. The low grumbling of before
is now replaced by
? 170 ?
vociferous condemnation of the bank
and Dickson. Individual protestations
are heard above the din of the crowd.
Dickson enters scene, and CAMERA TRUCKS
AHEAD OF HIM as he quickly passes several
tellers, giving them instructions to
pay the depositors without delay. Sampson
catches up with him.
SAMPSON
Look at them, Mr. Dickson. They're going
crazy.
DICKSON
Did you get the case for the securities?
SAMPSON
Yes, sir.
DICKSON
Mine too?
SAMPSON
Yes, sir. But soon as our money runs
out, they'll mob the place.
Dickson looks off toward the crowd.
DICKSON
The fools! If they only knew it, they're
making things worse for themselves.
Somebody starts a silly rumor, and they
lose their heads.
SAMPSON
What'll we do?
DICKSON
I'll talk to them. Listen, go back and
tell the boys to stall as much as possible.
Tell 'em not to pay any attention to
what I said. Tell 'em to verify every
signature.
He leaves the scene as we
CUT TO:
180. LOBBY OF THE BANK - LONG SHOT
Taking in a greater portion of the lobby.
Dickson comes into the scene in the
b.g. and stands on the stairs, looking
down at the crowd. He suddenly holds
up his hand and shouts:
DICKSON
Take your time, folks. Don't get excited.
Everybody stay in line. You'll all be
taken care of. Don't worry about anything.
Plenty of time for everything.
He has to raise his voice even louder.
DICKSON
Now listen, everybody! Listen to me!
Gradually their attention is attracted
to him. All eyes are turned in his direction.
181. MED. CLOSE SHOT
Shooting toward Dickson, past the crowd.
? 171 ?
Dickson standing on the stairs. The
people looking up at him.
DICKSON
I want you to know that your money is
safe. This bank is in excellent condition.
If you've heard any reports to the contrary,
it's based on malicious rumors.
AD-LIB FROM CROWD
Yeah? Maybe . . .
MAN
It's a lotta hooey! We want our money!
DICKSON
All right. You'll get your money - every
penny!
AD-LIB FROM CROWD
We want it now! We don't want no speeches!
182. CLOSE SHOT - DICKSON
As he addresses the crowd:
DICKSON
Listen to me now. It takes time. I've
got seven paying tellers working just
as fast as they can. If you'll all calm
down, I'm making arrangements to keep
the doors open until four o'clock this
afternoon and you can be paid today.
183. MEDIUM SHOT OF THE CROWD
As they cheer their approval and return
to their buddies.
184. MED. CLOSE SHOT
As Dickson starts back toward the offices,
Sampson comes to meet him.
SAMPSON
We can't keep open till four o'clock.
We haven't cash enough to last an hour.
DICKSON
Don't you think I know it?
They both start walking toward Dickson's
office - CAMERA TRUCKING WITH THEM.
As they pass the conference room, Schultz
comes out and stops Dickson.
SCHULTZ
We're still waiting for you, Dickson.
Dickson looks up, studies Schultz a
moment, as if trying to make up his
mind whether to consult the Board of
Directors or not.
CUT TO:
185. INT. DIRECTORS' ROOM - MED. SHOT
The door opens and Dickson enters, followed
by Schultz. They all look up. Dickson
goes up to them.
DICKSON
Well, gentlemen, we've got about one
more hour to go. You know what that
means?
? 172 ?
186. MED. CLOSE SHOT
Dickson and the Directors.
DICKSON
(continuing)
We'll be forced to shut the doors. I've
worked twenty-five years night and day
to keep this bank alive. You've all
made money out of it. Are you willing
to help?
CLARK
(defiantly)
What do you mean, help?
DICKSON
I know that among you, you have at least
a million dollars in various banks throughout
the city. Get that money over here and
I'll stop this run within five minutes.
CLARK
That sounds very simple, Dickson, but
why should we jeopardize our personal
fortunes?
DICKSON
I have everything I own in it. It's
your bank as well as mine, isn't it?
187. CLOSE SHOT
Clark and Schultz.
CLARK
(this is just what he's been waiting
for)
Oh, is it? Since when? Judging from
the way you've ignored us, you wouldn't
think so.
SCHULTZ
We tried to reason with you, but you
wouldn't listen to us.
188. MED. CLOSE SHOT
Shooting toward Dickson.
CLARK
The depositors you were protecting were
the first ones to pounce on you. You
thought they were your friends. Why
don't you go out there now and try and
get some help from them?
DICKSON
Aw, they've gone crazy. You can't reason
with a mob.
189. CLOSEUP - CLARK
CLARK
No. You can't reason with anyone else
when you're in a jam. We pleaded with
you to keep liquid, but you wouldn't
listen to us. You preached to us about
faith and a lot of other rubbish. Now
you want our help. You want us to throw
a lot of cash into a bank that you've
? 173 ?
wrecked. All right. There's one way
you can get it. Give us an option on
your stock and resign as president.
190. CLOSEUP - DICKSON
DICKSON
(quietly - tense)
So, that's it, eh? You've waited a long
time for this chance, haven't you?
(his voice rising)
Well, I'm not going to resign now -
or ever.
191. WIDER ANGLE
Taking in the others at the table.
SCHULTZ
You have no choice.
DICKSON
I haven't? I'll shut the bank first.
CLARK
(terrified)
Say, you can't do that—
DICKSON
I can't? You just wait and see. If that
run doesn't stop within the next hour,
I'll shut the doors. You know what that
means? The bank examiner will step in
tomorrow. You'll be forced to liquidate.
I'll insist upon it. The depositors
will be paid one hundred cents on the
dollar. What's left you gentlemen can
have. But I'll guarantee there won't
be enough to pay your next month's garage
bill.
With which ultimatum, he crosses to
the door and exits, CAMERA PANNING WITH
HIM.
CUT TO:
192. INT. OUTSIDE CONFERENCE ROOM -
MED. CLOSE SHOT
As Dickson barges out. He stops in front
of the door, and looks off toward lobby.
193. INT. LOBBY OF BANK - FULL SHOT
Pandemonium has broken loose. Men and
women are hysterical. The police battle
with recalcitrant depositors in a desperate
effort to maintain order. Strong men
push weak ones out of the lines. Wild-eyed
women jostle and scramble to get near
the paying tellers. Sex and priority
rights are totally disregarded. Above
it all the din is deafening. Men and
women are clamoring for their life's
savings, ready to commit murder to retrieve
their little stakes.
CUT TO:
194. OUTSIDE CONFERENCE ROOM - CLOSEUP
- DICKSON
His face clouds. As he stands there
watching the chaos, slowly the deep
concern vanishes from his face and his
jaw sets in grim determination. He starts
toward the stairs.
? 174 ?
CUT TO:
195. ENTRANCE OF BANK - MED. CLOSE SHOT
Cyril Cluett enters from outside, looking
guiltily around. Then he starts forward
and exits from scene. The moment he
is gone, Detective #3, who followed
him out, appears in the doorway and
crosses in the direction taken by Cluett.
CUT TO:
196. OUTSIDE CONFERENCE ROOM - MEDIUM
CLOSE SHOT
Dickson and Sampson.
SAMPSON
Mr. Dickson! Mr. Dickson!
DICKSON
Get all the big bills in the place.
Take them out and get them changed.
Get nothing but ones and fives. Distribute
them among the tellers. Tell them to
take their time. Stall as much as possible.
Count and recount the money.
SAMPSON
Yes, sir.
DICKSON
I hate to do this, but I've got to have
time to dig up some help. I think I
know where I can get some real cash.
Snap into it, Sampson. We will lick
this thing yet.
He starts out of scene towards his office.
CAMERA TRUCKS AFTER HIM, as he crosses
past Helen, talking without breaking
stride.
DICKSON
Come on in here, Helen. Bring your book.
I want some numbers to try to get some
action. Get Parker at the Union-Leeds
- the Exchange . . . Winslow and old
man Harris at the Home Mortgage. Snap
into it, Helen. Just as quick as you
can.
HELEN
Yes, sir.
CUT TO:
197. INT. LOBBY OF BANK - FULL SHOT
Pandemonium, din and increasingly hysterical,
pushing crowds.
CUT TO:
198. INT. CONFERENCE ROOM - MED. CLOSE
SHOT
The directors apparently are having
a battle of their own.
SCHULTZ
Look at that mob. They're going crazy.
AMES
You know, this run isn't doing the reputation
of this bank any good.
IVES
My dear friends—
? 175 ?
SCHULTZ
(interrupting)
How much longer is Dickson going to
hold out?
O'BRIEN
You know Dickson as well as we do. He'll
shut the doors before he gives up control.
CLARK
All right, let him! I'm sick and tired
of hearing about him. If he wants to
run the bank, let him do it. I don't
want any part of it.
IVES
My dear friends—
CLARK
Oh, shut up!
CUT TO:
199. SOMEWHERE BACK OF TELLERS' CAGES
- MEDIUM CLOSE SHOT
Sampson frantically advising tellers.
SAMPSON
Stall! Stall!
One teller faces an angry depositor.
TELLER
Er, is this your signature?
MAN
Certainly it's my signature. You've
seen it often enough.
TELLER
I'm sorry, but I'll have to verify it.
CUT TO:
200. INT. DICKSON'S PRIVATE OFFICE -
CLOSE SHOT - DICKSON
Seated at his desk, talking into the
phone:
DICKSON
Hello, Parker. Listen. Listen, I've
got to have a million dollars in cash,
and I've got to have it quick.
(pause)
What?
(pause)
No, no, no. Tomorrow is no good. I need
it now.
(pause)
Of course it's safe. Why, the bank's
in excellent condition. You know that.
CUT TO:
201. INT. SAMPSON'S OFFICE - MED. SHOT
The Inspector is making preparations
to take Matt down to headquarters.
? 176 ?
INSPECTOR
You'd better tell Mr. Dickson we're
taking Matt Brown downtown.
DETECTIVE
(to 2nd Detective)
Is the chief's car outside?
2ND DETECTIVE
Yes, sir.
INSPECTOR
Okay. Come on son. Let's go.
The detective takes Matt's arm and makes
him get up from the chair.
Helen rushes into the room and into
Matt's arms.
202. CLOSER SHOT
Helen clings to Matt.
HELEN
(sobbing)
Oh, Matt . . .
MATT
(consoling her)
Don't cry, honey. Everything's gonna
be all right.
The detective touches her shoulder,
tenderly.
DETECTIVE
Sorry, sister.
Helen does not move. She clings to Matt,
sobbing violently.
203. MED. CLOSE SHOT AT DOOR
As Detective #3 enters the room. CAMERA
PANS WITH HIM as he crosses to the Inspector.
INSPECTOR
What did you find out, Mike?
MIKE
I've been trailing the cashier like
you told me. You're right about that
guy, chief. There's something screwy
somewhere.
INSPECTOR
Never mind all that. What did you find
out?
MIKE
He left here about an hour ago and went
down to Dude Finlay's joint.
INSPECTOR
Dude Finlay?
MIKE
Yes, sir.
? 177 ?
204. CLOSE SHOT - MATT & HELEN
Helen slowly lifts her head from Matt's
shoulder. Her eyes widen as she hears
the name of Dude Finlay. Mike's voice
comes over this shot.
MIKE'S VOICE
He stayed about half an hour, and then
he came right back here. He's in his
office now.
INSPECTOR
(slowly dawning realization)
That's where I must have seen that guy—
Helen starts out of scene.
205. MEDIUM SHOT
As Helen leaves Matt's side and crosses
to the Inspector and Mike.
HELEN
Did you say Dude Finlay?
INSPECTOR
Yes, why?
HELEN
He was in the bank yesterday.
206. CLOSER SHOT ON THE THREE
INSPECTOR
(suddenly alert)
He was here?
HELEN
He came to see Mr. Cluett.
INSPECTOR
Are you sure?
HELEN
Yes, sir.
207. CLOSE SHOT - MATT
As he listens intently to Helen and
the Inspector.
INSPECTOR'S VOICE
Who was with him?
HELEN'S VOICE
Two other men. They all went into Mr.
Cluett's private office.
INSPECTOR'S VOICE
(pleased)
Now we're beginning to get somewhere.
208. MED. SHOT
Taking in all the people in the room.
The Inspector turns to the detective
and speaks quickly:
INSPECTOR
Kelly! You stay here with Brown.
? 178 ?
(to Tim)
Tim, you and Mike come with me. We're
going down to Cluett's office.
He crosses to the door, followed by
Tim and Mike.
209. MED. CLOSE SHOT AT DOOR
As the Inspector turns back and calls:
INSPECTOR
Oh, Kelly - call me up in Cluett's office
in about five minutes.
KELLY'S VOICE
What'll I say?
INSPECTOR
I don't care what you say. Sing "Mother
Machree"[8] if you want to, but call
me up.
Inspector, Tim and Mike go out.
CUT TO:
210. INT. LOBBY OF BANK - MEDIUM CLOSE
SHOT
On the elderly lady depositor and bank
guard, among the milling crowd.
GUARD
(above the din)
Quiet down, please! Take it easy, folks.
Everything will be all right.
LADY
(to bank guard)
But you said it would be safe! It's
his life insurance money. Oh, please,
I'll go to the Old Ladies' Home if you
don't do something, please!
GUARD
Please, lady. Please be quiet. Everything
will be all right.
(leading the old lady - pushing a path
through the crowd)
Open up here, folks. All right, folks,
please!
CUT TO:
211. INT. DICKSON'S PRIVATE OFFICE -
CLOSE SHOT DICKSON
Seated at his desk, talking into the
phone:
DICKSON
Good heavens, man, you're taking no
chances. No, I'm perfectly willing to
sign everything over to you. What more
do you want? I need action. I've got
to have it within the next half hour.
(pause)
Yeah, sure - the board of directors
turned me down, but you know why.
(pause)
Listen. Listen, read it. It wouldn't
be a drop in the bucket to you.
? 179 ?
(pause)
I see. Uh-huh. All right - ask me for
a favor some time, will you?
He slams the phone down angrily.
CUT TO:
212. INT. CLUETT'S PRIVATE OFFICE -
MED. CLOSE SHOT
Cluett sits at his desk. The Inspector
stands in front of him.
INSPECTOR
(very suave)
I hope you don't mind me asking you
a few questions, Mr. Cluett.
CLUETT
Of course, yes. Just what would you
like to know, Inspector?
INSPECTOR
Where were you at twelve o'clock last
night?
CLUETT
(much relieved)
That's very simple. I was home.
213. CLOSE SHOT - INSPECTOR AND CLUETT
Shooting toward Cluett.
INSPECTOR
That is simple, isn't it? I assume you
can prove that if necessary.
CLUETT
(feeling very sure of himself)
Oh yes, of course. There was someone
with me. A lady.
INSPECTOR
(smiling - affably)
Looks like you're going to have no trouble
at all. What was the lady's name, Mr.
Cluett?
CLUETT
If you don't mind, Inspector, I'd rather
not say - that is, unless it becomes
absolutely essential. You see, she's
married.
INSPECTOR
(a big understanding grimace)
Oh!
CLUETT
(smiling)
You understand?
INSPECTOR
(assuringly)
Why, of course.
The telephone rings at this point. Cluett
turns to answer it.
? 180 ?
CLUETT
Pardon me.
He picks up the receiver. The Inspector
watches him closely.
214. WIDER ANGLE
As Cluett answers the phone.
CLUETT
Hello . . . who? Yes, he's here.
(to Inspector)
It's for you, Inspector.
Cluett gets up out of his chair to permit
Inspector to get to the phone.
INSPECTOR
Thanks.
CLUETT
(trying to be light)
Somebody must be in good humor. He was
humming "Mother Machree."
INSPECTOR
(laughing)
It's one of the boys from headquarters.
He always sings "Mother Machree" whenever
he's got good news. Looks like this
case'll be settled in no time.
215. CLOSEUP - CLUETT
His face clouds at this. He listens
while Inspector's voice comes over scene:
INSPECTOR'S VOICE
Yeah, Kelly? Huh? Dude Finlay! Where
do you got him?
Inspector pauses, waiting for a reply.
CUT TO:
216. INT. SAMPSON'S OFFICE - CLOSEUP
DETECTIVE
Detective Kelly, speaking on the phone:
KELLY
(into phone)
I ain't got nobody here. I'm with Brown.
Didn't you tell me to call you up in
five minutes?
INSPECTOR'S VOICE
Sure.
CUT TO:
217. INT. CLUETT'S OFFICE - CLOSEUP
- CLUETT
Cluett is terrified. The Inspector's
voice continues:
INSPECTOR'S VOICE
Take him right down to headquarters.
Cluett starts to edge out of scene.
? 181 ?
218. MED. SHOT
The Inspector is still holding receiver
to his ear. Cluett has edged close to
the door, his expression one of desperation.
The Inspector watches Cluett out of
the corner of his eye as he continues.
INSPECTOR
(into phone)
Yeah. What? . . . You don't mean Cyril
Cluett, the cashier?
(long-drawn-out)
Yeah-h-h-h-h.
(pause)
Well! Did Dude Finlay tell you that?
CUT TO:
219. INT. SAMPSON'S OFFICE - CLOSEUP
- KELLY
KELLY
(into phone)
What? Dude Finlay? Sure, I got him here!
You know, for a minute I didn't catch
on . . .
CUT TO:
220. INT. CLUETT'S OFFICE - MED. SHOT
On the Inspector.
INSPECTOR
(into the phone)
Yeah. We got him here right now. Yeah,
yeah. Okay Kelly, good work. Looks like—
221. CLOSE SHOT - CLUETT
He feels himself trapped. He glances
around the room quickly to determine
his chances to escape. He keeps edging
closer to the door with his back to
it. His hands sneaks down and grabs
hold of the doorknob.
Suddenly, Cluett snaps open the door
and like a flash is out of the room.
222. MED. SHOT OF ROOM
As Cluett's figure disappears. The detectives
are startled by the sudden move.
INSPECTOR
(hanging up receiver)
—get him!
The detectives dash out, Inspector following.
CUT TO:
223. SOMEWHERE IN THE CROWDED OUTER
OFFICE - MED. CLOSE SHOT
Cluett hurries through.
224. EXT. TO MEN'S LOCKER ROOM - MED.
CLOSE SHOT
At the door of the men's locker room.
Cluett comes into scene and enters locker
room.
? 182 ?
CUT TO:
225. SOMEWHERE IN THE CROWDED OUTER
OFFICE - MEDIUM SHOT
Inspector and detectives enter. Look
around quickly.
DETECTIVE
(looking off, and spotting Cluett)
There he goes!
They rush out of scene, their hands
on their guns, concealed.
CUT TO:
226. INT. MEN'S LOCKER ROOM - FULL SHOT
Metal lockers line the entire room.
Cluett comes to door on other side of
the room. Just as he gets there, he
hears the detectives entering off scene.
Quickly he changes his mind and springs
into a space between a row of lockers
and the wall, at the same time drawing
his gun.
Inspector and detectives enter. The
Inspector and one of the detectives
advance into the room cautiously, holding
their guns in front of them. Kelley,
the other detective, shrewdly separates
from them.
DETECTIVE
He must be here. There's only one door.
INSPECTOR
All right. Find him.
Cluett slips into a locker and closes
the door behind him. They hear the noise
off scene.
INSPECTOR
What was that noise?
DETECTIVE
Sounded like a locker.
INSPECTOR
A locker, eh? Well, search every one
of them. He must be in one of 'em.
They search the lockers one by one,
until the Inspector happens upon the
one with Cluett inside. He leaps out,
gun drawn.
227. CLOSE SHOT - CLUETT
From Inspector's angle.
CLUETT
Stand back Inspector, or I'll shoot.
Drop that gun.
INSPECTOR
(calming tone)
All right, Jack, all right.
228. MED. CLOSE SHOT
The detective and Inspector. The detective
drops his gun, but the Inspector keeps
his levelled, toward Cluett, off scene:
INSPECTOR
Don't be a fool, Cluett. This is only
going to make it worse for you.
? 183 ?
CLUETT
Stand back, Inspector. Let me out of
here, or I'll shoot you!
He starts slowly forward.
The Inspector ignores the warning. He
takes a few more steps forward.
229. CLOSEUP - CLUETT
From Inspector's angle.
CLUETT
I warn you, Inspector - I'll shoot!
He levels his gun.
230. CLOSEUP - KELLEY
He lifts his gun and aims for Cluett,
off scene.
231. CLOSEUP - CLUETT
He is frightened, but desperate. He
has his finger on the trigger, ready
to fire.
CLUETT
(nervously)
If you take another step, I'll—
A shot is heard. The gun drops out of
Cluett's hand. His arm goes limp. His
face screws up in pain.
INSPECTOR
(rushing forward to grab him - to the
detectives)
Let me see it! Let me see it! It's only
his finger. Get me a towel.
(to Cluett)
Now take it easy, buddy. Take it easy.
All we want to do is talk to you.
CUT TO:
232. INT. A TELLER'S CAGE MED. - CLOSE
SHOT
Shooting over the teller's shoulder.
People standing in line, an atmosphere
of pandemonium and hysteria.
233. INT. DICKSON'S PRIVATE OFFICE -
CLOSE SHOT - DICKSON
Still at phone. His coat is now off
and flung across the desk. His face
is worn. Perspiration rolls down his
face. His appearance indicates he has
been on the phone a long time.
DICKSON
(into phone - defeated)
You can't do a thing. You're up to your
neck. All right.
He listens. He is being turned down.
He hangs up receiver. Over his face
slowly comes a look of deep perturbation.
He refers to a small notebook open on
his desk. His finger runs down the list
of names as he searches for another
prospect.
CAMERA PANS ACROSS as Inspector and
other detectives, with Cluett in custody,
enter Dickson's office, all excited.
? 184 ?
INSPECTOR
You were right, Mr. Dickson! Brown didn't
have anything to do with it. Here's
your man.
DICKSON
Why, you must be crazy. I've known this
man for years.
INSPECTOR
He's just confessed. He's been mixed
up with the toughest gangsters in town.
CAMERA PANS BACK to Dickson, as he stares,
unbelievingly, at the shrunken figure
of Cluett, who is trembling with fear.
234. CLOSER SHOT
Favoring Cluett and Dickson.
DICKSON
Confessed! Cluett, in heaven's name,
what got into you?
CLUETT
(his voice shaking)
I don't know. It's all been like a crazy
nightmare, Mr. Dickson.
DICKSON
What happened? You're not a thief. How'd
you get mixed up with these kind of
people?
CLUETT
Gambling - I owed them a lot of money.
Last week I lost over fifty thousand
dollars!
DICKSON
(shocked)
Fifty thousand dollars!
CLUETT
(hysterically)
But I didn't kill that man last night.
Honest I didn't, Mr. Dickson!
235. CLOSEUP - CLUETT
As he continues:
CLUETT
(dully)
Yesterday they came to collect it. I
begged them to wait. I wanted time to
think, but they wouldn't listen to me.
(his voice rises)
They threatened to kill me if I didn't
pay it! I was desperate! I didn't know
what to do!
236. CLOSEUP - DICKSON
As he reacts to Cluett's confession.
Cluett's voice continues over this shot.
CLUETT'S VOICE
(hoarsely - quickly)
Then they suggested that I help them
rob the bank. All I had to do was turn
off the alarm and
? 185 ?
fix the time clock. It all sounded so
easy. It seemed like a way out.
237. MED. CLOSE SHOT - GROUP
As Cluett continues:
CLUETT
(wildly)
I didn't know anybody was going to be
killed!
The Inspector addresses Cluett:
INSPECTOR
What were you doing at Finlay's this
morning?
CLUETT
They took my keys yesterday. I went
there to get them back.
DICKSON
(desperately)
If you were in a jam, why didn't you
come to me? I would have helped you
out. You know that.
238. CLOSE SHOT
Favoring Cluett.
CLUETT
I was crazy, I tell you, Mr. Dickson.
I didn't know what I was doing. I wandered
around in a daze. All I could think
of was that they were going to kill
me . . .
(pleading desperately)
You'll stand by me, won't you, Mr. Dickson?
You won't go back on me now, will you?
I'll die if they send me to prison!
INSPECTOR
(practical)
Don't forget there's a dead watchman
downstairs.
CLUETT
(wild-eyed)
I didn't kill him! I had nothing to
do with that, I tell you! I was home
in my apartment last night - I can prove
it!
239. MED. CLOSE SHOT OF GROUP
INSPECTOR
(skeptically)
Claims he was there with a married woman.
Doesn't want to mention her name.
CLUETT
(desperately - to Dickson)
He won't believe it, Mr. Dickson. But
it's the truth - honest it is. I was
in my apartment last night - ask your
wife - she—
He stops dead. Suddenly he realizes
what he is saying.
240. CLOSEUP - DICKSON
As he reacts electrically to the mention
of his wife.
? 186 ?
241. CLOSE SHOT - CLUETT
He slaps a hand over his mouth, as if
to crush out anything further he might
say. He stares wide-eyed and frightened
at Dickson.
242. CLOSE TWO SHOT - DICKSON AND CLUETT
Dickson glares at Cluett, penetratingly.
His brain slowly absorbs the revelation
that Phyllis was in Cluett's apartment
the night before.
DICKSON
(dully)
My wife? What's she got to do with you?
INSPECTOR
(out of the side of his mouth - to a
detective standing next to him)
No wonder he didn't want to mention
her name.
Dickson comes over to Cluett, grabs
him by the arm.
DICKSON
What was my wife doing in your apartment
last night?
CLUETT
(hysterically)
Nothing, nothing, Mr. Dickson. Don't
pay any attention to me. I don't know
what I'm saying.
DICKSON
You just mentioned her name. What was
she doing there? What was she doing
in your apartment?
CLUETT
She just came up for a drink. Just for
a few minutes.
Dickson grabs Cluett and shakes him.
DICKSON
(a shriek)
You're lying!
243. MED. CLOSE SHOT
INSPECTOR
Don't worry, Mr. Dickson. We'll find
out whether he's telling the truth.
I'll have a man from headquarters check
up on it right away.
DICKSON
(hard)
You don't want to check up on anybody.
I'll do all the checking up. Wait a
minute.
CAMERA PANS WITH HIM as he crosses to
his desk, and calls Helen on the intercom.
DICKSON
Helen!
HELEN'S VOICE
Yes?
? 187 ?
DICKSON
Get Mrs. Dickson on the phone.
There is an awkward pause while Dickson
waits. He is obviously agitated. Then
the phone rings.
DICKSON
(answering it)
Listen, dear. I want to ask you something.
I know it's a silly thing for me to
ask you, but . . . I want you to tell
me the truth. Where were you last night?
CUT TO:
244. INT. DICKSON HOME - CLOSEUP - MRS.
DICKSON
MRS. DICKSON
(into phone - disconcerted)
Last night? Er - why - uh, last night
. . .
CUT TO:
245. INT. DICKSON'S OFFICE - CLOSEUP
- DICKSON
DICKSON
(very sombre)
Listen, dear. Now tell me the truth
about this. Were you in Cluett's apartment?
CUT TO:
246. INT. DICKSON HOME - CLOSEUP - MRS.
DICKSON
MRS. DICKSON
(into phone)
In Cluett's apartment? Well dear, you
see, I . . . I . . .
CUT TO:
247. INT. DICKSON'S OFFICE - MED. CLOSE
SHOT
Favoring Dickson, but showing Cluett
and the others.
Dickson slowly puts the phone receiver
down. His face is ashen. He is shaken
to the core.
CLUETT
(miserably)
She wasn't to blame, Mr. Dickson. It
wasn't her fault. Honest, it wasn't.
I begged her to come up. She didn't—
DICKSON
(an explosion)
Get out, get out!
INSPECTOR
All right. Let's go.
The detectives get on either side of
Cluett and silently they march him out
of the room. Inspector and others follow,
leaving Dickson alone. When they have
gone out:
? 188 ?
248. CLOSE SHOT - DICKSON
Left alone, he is a tragic figure. An
incessant parade of disturbing thoughts
tumble over each other in a hectic march
across his chaotic mind. He grips his
throbbing temples in an effort to crush
out the torturous thought that Phyllis
was involved in an intrigue with Cyril
Cluett.
CUT TO:
249. INT. CONFERENCE ROOM - MED. SHOT
Most of the directors seem to be weakening.
O'Brien is remaining staunch to Dickson.
Clark alone, holds out.
O'BRIEN
Clark, you're insane to hold out any
longer. Now let's get some money over
here and stop this run.
AMES
If we close our doors, our stock won't
be worth a nickel.
Meek little Ives once more tries to
speak:
IVES
My dear friends, I—
O'BRIEN
(interrupting)
I'll lay you ten to one, Dickson won't
give in.
250. CLOSER SHOT
Featuring Schultz and Clark, standing
together.
SCHULTZ
Maybe they're right, Clark.
CLARK
(weakening)
All right, I'll go and have a talk with
him.
As he starts to walk toward the door:
CUT TO:
251. INT. DICKSON'S PRIVATE OFFICE -
FULL SHOT
Dickson sits at his desk, his head cupped
in his hands. Clark enters thru door
of outer office, quietly. He looks at
Dickson a moment, then crosses to the
desk.
CLARK
Oh, Dickson . . .
252. CLOSE SHOT OF THE TWO
Shooting toward Dickson.
Dickson slowly looks up at Clark.
CLARK
(softly)
Dickson, I'd like to talk to you about
the bank.
? 189 ?
DICKSON
(heartsick)
The bank. All right. Do anything you
want with it.
253. CLOSE SHOT - CLARK
His face lights up. This is a turn he
never expected. He really came in to
capitulate.
CLARK
(smoothly)
Now you're talking sense.
(alert)
We'll draw up the option on your stock
- say, eighty dollars a share. How's
that?
254. CLOSE SHOT - DICKSON
He is not even interested, speaks vaguely:
DICKSON
Eighty dollars? That's fine - anything
you say.
He waves Clark away.
CLARK
Good, good. I'll draw it up at once.
255. MED. SHOT
As Clark starts out of Dickson's office,
elated, Helen comes in.
HELEN
You want the rest of those numbers,
Mr. Dickson?
DICKSON
(toneless)
Numbers? No, never mind.
She stares at him, surprised, backs
out of the room.
CUT TO:
256. INT. OUTER ROOM OF DICKSON'S OFFICE
- HELEN AND MATT
Immediately following:
MATT
What's he doing, honey? Is he getting
any help?
HELEN
Something's happened. He isn't trying
anymore.
MATT
They must have turned him down.
HELEN
Yes. He called some of the biggest people
in town.
MATT
Sure, they'd turn him down. He ought
to know that. I'm going in there and
talk to him.
As he enters Dickson's office:
CUT TO:
? 190 ?
257. INT. DICKSON'S OFFICE
CAMERA PANS ACROSS as Matt enters:
MATT
We haven't got much time left, Mr. Dickson.
We've got to do something quick or it'll
be too late.
DICKSON
(softly)
Why wouldn't you tell me where you were
last night?
MATT
(ignoring the question)
You're not giving up, are you, Mr. Dickson?
DICKSON
Were you in Cluett's apartment?
MATT
(dismissively)
Oh, I can explain about that later.
You're losing your bank - don't you
realize what that means?
DICKSON
(gravely)
Was Mrs. Dickson there?
MATT
Listen, Mr. Dickson, don't let them
lick you just because a couple of big
shots turned you down. You've got more
friends than anybody in this town. Little
guys - guys who wouldn't be in business
if it weren't for you. All you've got
to do is—
DICKSON
(undeterred)
Wait a minute. Answer my question. Was
Mrs. Dickson there?
MATT
(fumbling for words)
Well . . . uh . . . I . . .
Dickson
She was, wasn't she? How long has this
been going on? Do you know?
MATT
Aw, I don't know what you're talking
about. All I know is that you're losing
your bank and—
DICKSON
(firmly)
All right. That's all.
(poignantly)
Please, Matt.
Head bowed, Matt exits scene.
? 191 ?
CUT TO:
258. INT. DICKSON'S OUTER OFFICE - MATT
AND HELEN
Immediately following:
HELEN
Did you talk to him?
MATT
(downcast)
Yeah.
(he has a sudden inspiration)
I got an idea. Come on, let's get to
a telephone.
They exit scene hurriedly.
CUT TO:
259. INT. DICKSON'S PRIVATE OFFICE -
MED. CLOSEUP
All of his beliefs are shaken by this
seeming betrayal. Dickson takes a framed
photograph of Phyllis from his desk,
gingerly sets it face down in the center
drawer of his desk.
Also in the desk drawer is - he cannot
help but notice - a gun.
CUT TO:
260. INT. CONFERENCE ROOM - CLOSE SHOT
- CLARK
As he dictates to someone off screen:
CLARK
—a thirty-day option on ten thousand
shares of stock of this company, now
registered in the name of Thomas A.
Dickson. Now make that in triplicate
and get it to me just as fast as you
can. Hurry!
CUT TO:
261. INT. SOMEWHERE IN THE BANK - CLOSE
SHOT AT PAYROLL WINDOW
Shooting past cashier in f.g. towards
line of laborers waiting to be paid.
Cashier stands in front of a tall counter
upon which is a small metal box filled
with currency. He is speaking into the
phone by his side as scene opens.
He hangs up receiver and turns to the
men on the other side of the window.
CASHIER
(speaking thru small window)
Sorry ladies and gentlemen, there's
no more money. You'll have to go on
to the next window.
He snaps the window shut, slams down
cover of little metal box.
Angry ad-lib from line of laborers waiting
to be paid.
CUSTOMER AD-LIBS
What do you mean there's no more money?
etc.
? 192 ?
Panicked shouting and pushing. In the
center of the crowd, a woman faints.
CUT TO:
Another cashier, another window, another
angry line of depositors.
CASHIER
That's all there is!
More pushing, shouting, angry ad-lib.
CUT TO:
262. INT. DICKSON'S OUTER OFFICE - MEDIUM
CLOSE SHOT
Phyllis Dickson, serious-faced, comes
up steps and thru ante room on the way
to Dickson's private office.
She pounds on door of office. There
is no reply from within. Standing next
to her is a bank guard, uncertain about
what to do. Throughout scene, there
are b.g. sounds of melee in the bank.
MRS. DICKSON
(to bank guard)
Are you sure he's in there?
GUARD
Yes, ma'am. He must be in there. He
hasn't come out.
She pounds on the door again.
MRS. DICKSON
(shouting)
Tom! Tom! Tom!
(to guard)
I've got to get in there. Can't you
find me a key?
GUARD
(reaching into Helen's desk)
Yes, I think there's one right here
in the drawer.
CUT TO:
263. INT. DICKSON'S PRIVATE OFFICE -
FULL SHOT
As Mrs. Dickson rushes in.
Dickson is standing by a window.
264. CLOSE SHOT - MRS. DICKSON
She walks over to him - CAMERA PANNING
WITH HER - and stands in back of him.
MRS. DICKSON
(softly - seriously)
Tom! Oh Tom, darling - I came to explain
about last night . . .
Dickson remains silent. Mrs. Dickson
continues:
? 193 ?
MRS. DICKSON
Cyril Cluett doesn't mean anything to
me, Tom. I went out with him last night
simply because . . . well, I had begun
to feel that I didn't have any part
in your life. That I was an outsider.
Tom, all we did was to go to the theatre,
and then we went back to his apartment
afterward for a drink. That's all it
was. I didn't do anything wrong, Tom.
I couldn't do anything wrong. I love
you too much. You know that.
265. CLOSEUP - DICKSON
As he stares dully out the window.
Mrs. Dickson's voice coming over shot:
MRS. DICKSON
(breaking down - sobbing)
Oh, Tom! Tom!
CUT TO:
266. INT. SOMEWHERE IN BANK - MEDIUM
CLOSE SHOT - MATT AND HELEN
Favoring Matt.
They are furiously working two phones,
going down a list of people who owe
Dickson and the bank a favor.
Although Matt has focus in the scene,
Helen's voice is always in b.g., as
she handles calls, making the same pitch.
MATT
(into phone - rat-a-tat)
Dickson's in a jam I tell you. The run's
getting worse.
HELEN
(simultaneously)
Mr. Williams . . .
MATT
(continuing)
The big guys have got the screws on
him. You've got to come through for
him, Mr. Conway. He came through for
you a hundred times. If his friends
don't help him, who is going to help
him?
HELEN
(looking up from her own phone pitch)
Matt, look! There's Mr. Jones!
CUT TO:
267. INT. LOBBY OF BANK - MED. SHOT
As a man elbows his way thru the crowd
to a receiving teller's window. He is
accompanied by a bank guard, who sweeps
the disbelieving crowd aside. He speaks
loudly for everyone's benefit:
JONES
Any bank that Tom Dickson has anything
to do with is all right. I'm putting
my money in here. Why should you be
afraid? Give him a chance. Tom Dickson
is all right! He's perfectly square.
I'm putting my money in this bank! I
know what I'm doing!
He reaches a teller's window, which
is closed. He pounds on it.
? 194 ?
JONES
Open up! I want to put some money in
here! I don't want to take any out!
A teller's face appears, somewhat astonished.
TELLER
(recovering composure)
Certainly, Mr. Jones! Certainly! Charlie!
CUT TO:
268. INT. SOMEWHERE IN BANK - MED. CLOSE
SHOT - MATT AND HELEN
MATT
(into the phone - rat-a-tat)
They're starting to come in already.
Yeah. Yeah. Well, listen. Don't waste
any time. Get all the money you can
lay your hands on, and bring it down
here right away. Step on it.
He hangs up, dials another.
Helen has dialed another prospect also,
and hands the phone to Matt.
MATT
(to Helen)
Who's this?
(into one phone)
Mr. Williams?
(into the other phone)
Mr. Gunther?
(to Helen)
I'll talk to both of them at once.
(holding both phones up to his mouth)
Listen, both you fellows. Dickson's
in a jam. The run's getting worse. Those
big guys got the screws on him. Yeah,
both you fellows got to come thru for
him. Listen, if his friends don't help
him, who is going to help him? Now he
came through for you a hundred times.
Yeah, listen. They're starting to come
in already. Yeah, listen. Both of you
fellas - get all the money you can lay
your hands on, and bring it down here
right away. Both of you - step on it!
All right.
CUT TO:
269. INT. LOBBY OF BANK - MED. SHOT
As several more people elbow their way
thru the crowd on their way to teller's
windows, speaking aloud.
MAN
(loudly)
Get out of my way. I got money I want
to put into the bank.
CAMERA PANS WITH HIM and second man
until they reach the receiving teller's
window, where they fall into a line
already containing ten or twelve people.
The second man shoves his way to the
front, and addresses the teller:
? 195 ?
2ND MAN
I want to make a deposit. Four thousand,
six hundred dollars. He's the best man
in the world. I believe in him.
CUT TO:
270. INT. DICKSON'S PRIVATE OFFICE -
CLOSE TWO SHOT
Dickson and Phyllis Dickson. She is
still explaining to him.
MRS. DICKSON
It doesn't matter what you think about
me, there's something far more important.
Those people down there. The bank, Tom.
You can't give that up.
She is interrupted by sound of door
opening. They look off.
271. CLOSE SHOT AT DOOR
As Sampson steps in. He looks off toward
Dickson.
SAMPSON
Mr. Dickson! Come here a minute. Look
at this. Something wonderful has happened.
People are bringing deposits. You won't
believe it until you see it. You have
to come out.
272. CLOSE SHOT
Dickson and Mrs. Dickson. He shambles
over towards the door.
273. INT. OUTSIDE OF DICKSON'S OFFICE
- MED. CLOSE SHOT
As Sampson and Dickson come out from
private office.
SAMPSON
(pointing off)
Look!
Dickson gazes in the direction he points.
CUT TO:
274. RECEIVING TELLER'S WINDOW - MEDIUM
SHOT
From Dickson's angle.
The line has grown in size. Those trying
to deposit their money are just as excited
as those who want to draw it out.
MAN
(shouting)
Tom Dickson is a friend of mine! I'll
put money in his bank any time!
ANOTHER MAN
(shouting)
Anybody who takes money out of this
bank is crazy! I'm going to put a lot
of money in! Here it is!
3RD MAN
I haven't got much, but here it is!
WOMAN
Tom Dickson can have all my money any
time.
? 196 ?
CUT TO:
275. INT. OUTSIDE OF DICKSON'S OFFICE
- CLOSEUP
On Dickson, looking toward Receiving
Teller's window. He stares at the miraculous
spectacle, deeply moved. He can scarcely
believe his own eyes. A smile grows
on his face.
The sight of his friends coming to his
rescue has an electrical effect on Dickson.
It revives his fighting spirit. He sticks
his jaw out determinedly. Without a
word he turns and crosses to door of
conference room.
CUT TO:
276. INT. CONFERENCE ROOM - FULL SHOT
Dickson flings the door open. Clark
and the other directors are startled
out of their business. Clark holds the
necessary transfer papers in his hand.
DICKSON
Come out here you pawnbrokers - take
a look at this!
CLARK
We've been waiting fifteen minutes—
DICKSON
(waving papers away)
You know what you can do with that!
Come on, take a look at this! You'll
see a demonstration of faith that's
worth more than all the collateral in
the world.
While he has been speaking, several
of the directors have edged over to
the door. They are perceptibly impressed.
277. MED. CLOSE SHOT - CLARK
He has remained unmoved, staring at
Dickson, as if trying to determine what
kind of ruse is this.
DICKSON'S VOICE
Come on boys! Come on Clark! It'll do
your heart good.
CAMERA PANS WITH CLARK, as he crosses
slowly to the door and looks out.
DICKSON
Look at that. They're shoving their
hard-earned money across the counter
with a ten to one chance against them.
278. CLOSER SHOT OF GROUP
As they edge out onto balcony overlooking
scene.
DICKSON
If you fellas want to save this bank,
get some real money over here right
away.
O'BRIEN
(decisively)
That's enough for me, Dickson. I'm ashamed
of myself. I'll have a hundred thousand
dollars over here in five minutes.
? 197 ?
O'Brien starts away and crosses to a
phone.
Dickson turns to the others.
DICKSON
Now you're talking! Ames?
AMES
I'm sold.
He goes off.
DICKSON
All right. Schultz?
SCHULTZ
(only a moment's hesitation)
This is your bank, Dickson, and I'm
with you!
DICKSON
Ives?
279. CLOSE SHOT - IVES
At last he can say something.
IVES
(shaky voice)
My dear friends, that's what I've been
trying to say all afternoon.
DICKSON
Go ahead and say it.
(turning to Clark)
Clark, you can do twice as much as any
of them. How about you?
280. CLOSE SHOT - CLARK
CLARK
Oh, I don't agree with you, but if everybody's
gone crazy, I'll go crazy too!
CUT TO:
281. INT. CONFERENCE ROOM - SERIES OF
CLOSEUPS
As Clark and the other directors make
their urgent phone calls.
SCHULTZ
(into phone)
This is Ben Schultz talking. Send a
hundred thousand cash over here to the
Union National right away.
CLARK
(into phone)
Send all your available cash to Union
National!
AMES
(into phone)
Currency - small denominations—
CLARK
(into phone)
—in tens and twenties—
? 198 ?
IVES
(into phone)
Say, I want one hundred and fifty thousand
dollars over here right away.
(listens)
I am in my right mind. No, no, no. Not
one hundred and fifty dollars. Say,
listen you guys, one hundred and fifty
thousand dollars. Yes!
LAP DISSOLVE TO:
282. EXT. CITY STREET - LONG SHOT
A string of armored cars speed toward
camera, accompanied by an escort of
eight motorcycle cops. The procession
heralds its approach by the piercing
wail of sirens.
POLICEMAN
Open up!
LAP DISSOLVE TO:
283. INT. BANK - AT THE DOOR
A dozen policemen precede the entrance
of a parade of uniformed guards, who
carry in one hand sacks of money, their
other hands clasped firmly on their
guns. The crowd in the lobby stands
aside, awe-stricken.
AD-LIB FROM COPS
Heads up—
Make way, there—
Hey, you, look out!
Murmurs of approval are heard from the
crowd.
LAP DISSOLVE TO:
284. INT. BANK NEAR FRONT DOOR - MED.
SHOT
As the crowd is leaving the bank. Everyone
is smiling and happy.
CAMERA SINGLES OUT VARIOUS INDIVIDUALS.
MAN
(to nearby man)
That's the trouble with people nowadays.
They hear a crazy rumor, and right away
they lose their heads. Not me! You didn't
see me drawing my money out, did you?
LAP DISSOLVE TO:
285. INT. BANK - CLOSEUP - GERT
As she works the switchboard - the next
day.
GERT
Good morning. Union National Bank. Just
a minute . . .
CUT TO:
286. INT. BANK VAULT - MEDIUM SHOT -
GROUP OF TELLERS
As they gather for their morning ritual,
waiting for Matt.
CHARLIE
Nine o'clock and all is lousy.
? 199 ?
TELLER
Where's Matt?
CHARLIE
Ten to one he'll have a crack about
the run yesterday.
TELLER
It's a cinch bet. I wouldn't take it.
2ND TELLER
If he pulls a gag about the run, we'll
murder the guy. Murder him!
They hear Matt approaching, and gesture
silence. Matt strides purposefully in.
He works the mechanism on the vault.
There is a long silence, during which
nobody says anything, most surprisingly
of all, not even Matt. Finally:
MATT
(after having opened the lock - turning
to the group of expectant tellers)
Well, I suppose you guys had a good
run for your money yesterday!
They tackle him to the ground.
CUT TO:
287. INT. BANK ENTRANCE MED. - CLOSE
SHOT
As Dickson enters, and playfully pushes
the hat down over Gardiner, the old
bank guard's face. The bank guard adjusts
his hat, annoyed, then sees it is the
president of the bank.
GARDINER
(merrily)
Good morning, Mr. Dickson. My wife is
much better this morning.
DICKSON
Well, that's too bad. Mine's all right
too.
Guard puzzles over his non-sequitur
for a moment, then smiles.
CAMERA TRUCKS AHEAD OF DICKSON, as he
strides through the lobby, passing various
individuals from opening scenes.
He spots the teller with a habit of
smoking on the job.
DICKSON
Carter!
The teller, from Dickson's angle, holds
up his empty hands. No cigarettes. Then,
he opens his mouth and chews elaborately,
showing that he has switched to gum.
Hellos and Good Mornings greet Dickson
as he continues on his way. He passes
the janitor in a new uniform, and stops
him.
DICKSON
Well, well, well - got your uniform,
eh?
JANITOR
Yes, sir.
? 200 ?
DICKSON
Looks good. How much did it cost?
JANITOR
(proudly)
I don't know. Mr. Sampson bought it
for me.
Dickson opens his jacket, affects an
unenthusiastic perusal of his own well-worn
suit of clothing.
DICKSON
(cheerfully)
Oh-oh. I guess I'll have to see Sampson
myself.
CAMERA FOLLOWS HIM as he approaches
Helen's desk outside his own private
office. Helen looks up.
DICKSON
Good morning, Helen.
HELEN
Good morning.
DICKSON
Say, I know what's the matter with you.
Matt!
Matt, hearing his name, dashes up to
stand next to Dickson.
288. MED. CLOSE SHOT
DICKSON
I want you both to take the day off.
Go downtown and get a license and get
married right away!
MATT
(weakly)
But I haven't . . .
DICKSON
I don't want to hear any more about
it. If you don't get married, I'll fire
both of you.
By now they are beaming. Dickson starts
off, then has a second thought.
DICKSON
Helen, while you're downtown, you might
stop in and make reservations for the
bridal suite on the Berengaria[9] sailing
next week.
MATT
Gee, thanks, Mr. Dickson—
HELEN
Oh!
DICKSON
(cutting him off)
Oh, no! It's not for you. You're only
going to get married. Mrs. Dickson and
I are going to go on the honeymoon.
With just the barest suggestion of a
wink, he exits.
? 201 ?
Matt looks at Helen:
MATT
Come, on slave.
They exit arm in arm.
FADE OUT.
END
| American Madness
Writers : Robert Riskin
Genres : Drama
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